Who gets remembered and how?
When looking at the pieces in William Villalongo’s Keep On Pushing exhibition, the question I’m faced with is: How do these bodies cohere?
In a perfect world, who would be the artist that captures the likeness of Obama for his official portrait?
The artwork at the BRIC Biennial mostly hinges on corporeal experience, on what it is to be a body.
Esopus 22: Medicine feels like a giant patient file for the cross between the medical and visual arts.
There are so many fault lines between art and politics, navigating them can feel dizzying and often futile. Conversations about identity politics, economics, heritage, corrective curating, and the broader issues of inclusion and exclusion are important but can be a drag on art itself, to the point where it can seem like the work vanishes behind real or imagined social mores. Such was the case with Ken Johnson’s review last fall in the New York Times of MoMA PS1’s Now Dig this! Art & Black Los Angeles 1960–1980 and the debate it engendered. The review spurned a lot of groaning about uninformed opinions and who constitute the “gatekeepers” of the art canon. A petition for the Times to reconcile this “editorial lapse” with its normally higher standard of writing was started as angry voices accumulated, gaining over 1,600 signatures.