Poetry has never been more of a hackneyed product — from tiresome MFA hybrid poems to stale derivations of pop/Net conceptualism to the New New New York School, always proclaiming that its linking of art, gay male cosmopolitanism, and poetics is “new.”
Triennial
Posted inArt
Follow This Man Out of the New Museum
“I do wonder, when I lead complete strangers around on my walks, and take them to sites that don’t dredge up some awful racial history so they have no racial referent — I wonder the degree to which they allow themselves to have racial thoughts.”
Posted inArt
Quickly Aging Here: The 2015 Triennial
After six years and three installments, is the New Museum’s Triennial entering middle age? An odd question for an exhibition devoted to “early-career artists,” as the museum’s press release describes them.
Posted inArt
Stealing the Triennial and Other Neat Tricks
As good as the last Triennial was — and, all qualms, quibbles and philosophical differences aside, it was a pretty good survey of emergent art — what it didn’t have was a monster.
Adrián Villar Rojas’ “A person loved me” (2012) has already achieved show-stealer status at The Ungovernables, the second installment of the New Museum’s Triennial, snagging a feature by Randy Kennedy in The New York Times with the sweeping headline, “A Colossus in Clay Speaks a Generation’s Message.”