In Tishan Hsu’s work, the canvas becomes a television, a platform of multiple channels, where what channel to tune into is the viewer’s choice.
Cennetoğlu’s first solo museum exhibition in the U.S. is on view alongside a group exhibition presented through SculptureCenter’s open call commissioning program.
A tightly focused survey of monitor-based sculpture made between the mid-1970s and the mid-1990s.
The exhibition’s artists push against narratives put forth by corporate and government industries by producing specific knowledge and corroborative objects around unmapped historical and political events.
Founded by artists in 1928, SculptureCenter provides an international forum that connects artists and audiences by presenting exhibitions, commissioning new work, and generating scholarship.
The SculptureCenter is hosting Nicola L.’s first institutional survey, cementing her reputation and oeuvre as thoroughly feminist.
Teresa Burga’s first solo museum exhibition in the United States focuses on her contributions to the Peruvian avant-garde and questioning of art-world hierarchies.
In Practice: Material Deviance, the group exhibition currently occupying the quirky basement space at SculptureCenter, can’t quite live up to its curatorial statement.
Cosima von Bonin’s exhibition at SculptureCenter features many splashy, maritime-themed works, but their cumulative effect lacks much depth.
Art collector Valeria Napoleone is spearheading an initiative to put artwork by women in museums in the UK and US.
The three exhibitions currently on display at Long Island City’s SculptureCenter reveal the institution’s commitment to recognizing broad swaths of contemporary art.
In the early days of motion pictures, when movies were shot in film, editors would physically review footage, handling, cutting, and taping together different sections. Innumerable snippets ended up on the cutting-room floor, discarded, never to be seen again. New York–based Polish artist Agnieszka Kurant is a chronicler of this negative side of creative output, a gleaner of what she calls “phantom capital.”