Whether through expansion or confusion, Pope.L plays with the instability of time and shows how tapping into this instability can unlock creative shifts in thinking.
William Pope L
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When Conceptual Art Makes You Acutely Aware of Your Body
Invisible Man, a group show at Martos Gallery curated by Ebony L. Haynes, gathers works by four artists that subtly call attention to embodied experience and the histories embedded in utilitarian objects.
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The Political Problems of the Contemporary “Flâneur”
An exhibition at the Barnes Foundation uses the theme of the contemporary flânuer to draw connections to its 19th-century collection, but the concept is deeply muddled.
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An Omnivorous Tour of the 2017 Whitney Biennial
See highlights from the 2017 Whitney Biennial, which opens to the public later this week.
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Black Identity Seen Through the Lens of Pulp Stories
In Black Pulp! at the International Print Center New York, artists and co-curators William Villalongo and Mark Thomas Gibson connect the literary genre of pulp with one of its most powerful vehicles: the story of blackness in the United States.
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Clowns Never Get Caught
Political campaigns, like Jasper Johns’s painting, “Flag,” are based on dreams.
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A Show of African American Artists Resonates in Racially Divided Detroit
DETROIT — Can an exhibition be informed by the place it visits?
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From Black Performance to Stuff on a Shelf, a Visit to Five Shows in San Francisco
SAN FRANCISCO — It’s summer in the USA, and that means it’s group-show season on both coasts.
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William Pope.L on “Acting a Fool” and Alternative Futures
Chicago-based artist William Pope.L works in a variety of mediums, including painting, spoken word, installation, and performance, to challenge ideas of race and social stereotypes.
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Deconstructing an Artist’s Dubious Claim
PHILADELPHIA — When I first saw William Pope.L’s “Claim” (2009), I was intrigued by its emphatic presence and endless detail. Created for the exhibition Ruffneck Constructivists at the Institute of Contemporary Art at the University of Pennsylvania, “Claim” is an enormous wall, about a foot thick, 36 feet wide, and 15 feet tall.
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The Radical Boundaries of African-American Performance
“Be African-American. Be very African American.” Thus reads a typed instruction on an otherwise blank piece of paper sent by veteran performance artist William Pope.L to Clifford Owens as part of Anthology, the latter’s crowd-sourced performance project staged last year at MoMA PS1.
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All the Art That’s Fit to Print
It’s not clear who scooped whom, but there are two gallery shows now on view in New York that examine the relationship between art and the newspaper.
