With Mangrove, Lover’s Rock, and Red, White and Blue, McQueen’s Small Axe anthology emphasizes resilience and collective strength.
The serious-minded artist-cum-filmmaker is enjoying a full retrospective at Tate Modern.
At the Met Breuer, four works by David Hammons, Arthur Jafa, Steve McQueen, and Mika Rottenberg overlap with and inform one another.
In a perfect world, who would be the artist that captures the likeness of Obama for his official portrait?
The artist and filmmaker’s two-channel video piece “Ashes,” having its US debut at the ICA in Boston, forces the viewer to reconcile disparate scenes projected onto either side of a suspended screen.
LOS ANGELES — In a city whose name is synonymous with the motion picture industry, it’s common for the worlds of film and art to collide. It’s less common, however, for them to collide in a way that’s critical and not simply flirting with the idea of celebrity.
At the Art Institute of Chicago’s Steve McQueen exhibition, I saw something unusual: museum-goers spending time — minutes of it! — watching moving images. In an otherwise bustling museum, the visitors in these rooms were silent and enthralled.
Editor’s Note: Peter Dobey published a series of photo essays (1, 2, 3) about this year’s Venice Biennale at the beginning of June. This is a long-form essay (to be published in three parts) that explores the work at the Biennale.
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PARIS — It is difficult to write about Venice, just like it is difficult to really SEE Venice. Individual experiences of art fade away into the oversaturation that is the Venice Biennale in the same way the city of Venice is sinking into the Adriatic. There is the ontological experience of Venice and the problem of one’s ability to encounter it. Then there is the physical impossibility to see everything the Biennale offers you and all the things it doesn’t, especially when in Italy.