The influential collective created a rigorous yet non-hierarchical sphere of influence, which challenges the very tidiness of retrospectives like Working Together.
It seems that, in reinscribing the Mexican muralists who were “written out” of American history, the curators of Vida Americana replaced one exclusion with another.
Toor’s long-awaited Whitney debut shapes a new narrative, one that
centers the brown, queer body.
Proposing an overdue historical corrective, Vida Americana is a reminder that neither the US or European avant-garde maintained a monopoly on Modernism.
The letter, authored by three artists included in the now-canceled Collective Actions, urges the Whitney to seriously examine its practices and policies to better represent and engage with historically excluded communities.
An interview series spotlighting New York’s creative community. Hear directly from artists, curators, and art workers about their current projects and personal quirks.
Through multi-sensorial installations, Alan Michelson holds genocidal colonizers accountable and affirms the continued survival of Indigenous people.
Eddie Arroyo decidedly updates the genre of American landscape painting, recording real-estate developments and gentrification and capturing the flux of contemporary urban landscapes.
Members of the research group say their “Triple-Chaser” video at the Whitney Biennial is part of an ongoing investigation into violence at the Israeli-Palestinian border.
The artist shares his thoughts on museums, power, art, and ideology.
Intellectual dispassion trumps emotional engagement at the latest edition of the Whitney Biennial.
This is the final installment in a six-part series by the artist that will be published every day this week (Mon–Sat) regarding the recent Whitney Museum protests and the issues at stake.