Through sculptural light installations, drawings and site-specific installations, Spencer Finch investigates ephemeral experiences and transforms them into sequences of color and light. Informed by his travels to various countries and by his own sensorial experiences of nature, music, and literature, Finch translates his observations of the world into two- and three-dimensional objects. In the spirit of scientific inquiry, Finch studies light and color, filtering his impressions through a personal cultural and historic lens. Finch’s work often reflects this dual approach of empirical study and subjective interpretation.
“Accesso” at Alfonso Artiaco was curated by art historian Christian Malycha and includes the work of six German artists.
Every month, hundreds of galleries showcase new exhibitions on the Artnet Gallery Network—and every week, we shine a spotlight on the exhibitions we think you should see. Check out what we have in store, and inquire more with one simple click.
What You Need to Know: Curated by art historian and writer Christian Malycha, “Accesso” at Naples Alfonso Artiaco gallery brings together works by three generations of German artists, namely André Butzer, Albert Oehlen, David Schutter, Jana Schröder, Raphaela Simon, and Ulrich Wulff. The exhibition is essentially broken into six solo exhibitions, and the artists have arranged their works within individual rooms in the gallery. Passing from the expressive freedom of Albert Oehlen’s works through to the contemporary visions of Jana Schröder and Raphaela Simon, the exhibition offers an open conversation about shifting artistic approaches across generations.
Nathaniel Mary Quinn recently captivated audiences through a striking series of portraiture in “NOT FAR FROM HOME; STILL FAR AWAY,” held at the Gagosian‘s 980 Madison Avenue location.
To follow, Quinn spoke about the development of the exhibition with Amanda Hunt, director of public programs and creative practice at the Lucas Museum of Narrative Art. The conversation probed how the artist draws on his own tragic life experiences to speak on the relationship between perception and memory.
In one of Gordon Parks’ photographs from 1942, a Black woman named Ella Watson stands erect, staring wearily into the lens. Watson, a widow supporting herself and two grandchildren, is pictured at her place of employment, where she cleans offices. She holds an upright broom in one hand, a mop by the other, in a stance echoing Grant Wood’s “American Gothic” painting. Rather than a rural house behind her, offering support and shelter, she stands before an American flag — the symbol of a country that has slighted her.
The work of minimalist conceptual artist and SVA alum Sol LeWitt (1953 Illustration) can now be explored in a whole new way, thanks to a recently released app from Microsoft. In partnership with the tech giant and close collaboration with the late artist’s estate, New York–based curator and LeWitt expert Lindsay Aveilhé and experience-design agency ADA have created an immersive virtual experience of LeWitt’s singular works that allows users to take a deeper dive than ever before.
The artist dedicates this site-specific installation to “the perseverance of Black Americans in their pursuit of happiness.”
The Milwaukee Art Museum exhibition On Site: Derrick Adams features a multimedia wall mural and sculptural installation the artist created specifically for the museum. Featuring important sites of Black culture in Milwaukee, “Our Time Together” (2021) celebrates everyday life on a monumental scale.
For more than a decade, Razor House, the stunning cliffside mansion by architectural designer Wallace E. Cunningham in La Jolla, California, has alternately been described as a “magnum opus,” an “architectural masterpiece,” and “America’s coolest home.” But since purchasing the modernist gem in 2019, Grammy Award–winning singer Alicia Keys and her husband, renowned music producer Kasseem Dean (a.k.a. Swizz Beatz), have preferred to call the home where they and their two sons, Egypt and Genesis, now reside “Dreamland.” Explaining the name, Keys says the expansive, nearly 11,000-square-foot residence, which overlooks the Pacific Ocean and is rumored to be the inspiration for Tony Stark’s futuristic bachelor pad in the Iron Man movies, is “a place to create dreams and to be bold enough to dream your wildest dream—for us to even be here is a wildest dream.”
A panoramic view shows the entirety of the "Our Time Together mural" at the Milwaukee Art Museum. Derrick Adams' mural, inspired in part by "The Green Book," celebrates the rituals of everyday Black life and leisure.
Six new exhibits will open at the Brattleboro Museum & Art Center Saturday, Oct. 23, including solo exhibitions by Natalie Frank, William Ransom, B. Lynch and Michael Abrams and group shows featuring work by members of the Guild of Vermont Furniture Makers and the Vermont Glass Guild.
Hill west architects unveils a first look at the interiors of its ‘olympia’ residences in DUMBO. the tower gently twists above the historic brooklyn neighborhood to look out across the east river waterfront toward lower manhattan. the thoughtful exteriors are occupied by 76 hand-crafted homes with interiors design by workstead. the team notes that its residences ‘reimagine luxury as craftsmanship and materiality that is rooted in the context of its location.’ the dwellings are services by over 38,000 sq ft of indoor and outdoor amenities to introduce ‘olympia’ as a dynamic and vibrant new community all on its own.
Charles Le Brun’s drawing manual on human emotions has been used for centuries by artists and students as a model for depicting facial expressions. In David Schutter’s work, Le Brun’s manual is set to a different direction—a series of abstract drawings recalling vestiges of the human face animated by emotion. But Schutter’s drawings are neither copies nor portraiture. Rather, they are reflections on how Lebrun’s renderings were made.
Martha Tuttle’s paintings can be defined by belonging, in that they are seriously invested in a material process that takes the craft of the medium as part of its subject. The spinning, weaving, and dyeing necessary to structure these objects forms their image, so the compositions are fixed inside the substrate, rather than constituting separate layers.
Rubins’s remarkable, nearly five-decade practice is built on a series of contradictions.
Her monumental sculptures are simultaneously organic and otherworldly, fluid and static, exploding and imploding. Uniting the worlds of art and engineering, Rubins creates her works by amassing found everyday objects—mobile trailers, canoes, airplane parts, playground equipment—and assembling them into objects where time and space collide, pushing the bounds of what seems possible.
A newly commissioned large-scale wall mural and sculptural installation will be unveiled October 29 at the Milwaukee Art Museum.
Created by Brooklyn-based artist Derrick Adams, Our Time Together will be a 93-foot work that reframes historical Black narratives.
“In Our Time Together, I highlight Milwaukee by representing commercial and social spaces known within the Black community,” said Derrick Adams. “These dwellings, and those who occupy them, are essential to the cultural, political and creative growth of American society, which is then spread out to a global audience. The installation reflects my respect and admiration for the perseverance of Black Americans in their pursuit of happiness and speaks to transformation, belonging and normalcy.”
The Artists’ Legacy Foundation today announced that Nancy Rubins (b. 1952)—celebrated for her innovative sculptural practice—is the recipient of its 2021 Artist Award. The unrestricted merit award of $25,000 is given to a visual artist whose primary medium is painting or sculpture in recognition of their professional achievements. Each year, ten artists are proposed for the Award by five anonymous nominators. Like the nominators, the jury of three comprises art-world peers who make the final decision.
RECORD has announced the 2021 winners of its Women in Architecture Design Leadership awards, which recognize and promote the role of women in the profession in the U.S. across five categories: Design Leader, New Generation Leader, Innovator, Activist and Educator. Now in its eighth year, the award’s winners for 2021 are Design Leader Annabelle Selldorf, New Generation Leader Amanda Williams, Innovator Julie Bargmann, Educator Deborah Berke, and Activist Tamarah Begay. Through their efforts in design and in tackling broader social challenges, these five women have proved to be inspiring leaders in the field of architecture and beyond.
At the heart of the 9/11 Memorial & Museum’s mission is the promise to commemorate the 2,983 killed as a result of the 9/11 and February 26, 1993 attacks. The Memorial and the Museum fulfills this sacred responsibility in many ways—through memorialization, through education and, in some cases, through artistic expression.
The Museum of Modern Art (MOMA) reopened its doors during the COVID epidemic on August 27, 2020. The entrance was taken over by a series of physical controls to guarantee the health of the few visitors that would be allowed in. Only a hundred guests were allowed each hour. In fact, the total capacity was capped at a quarter of the usual number. This experience—of being at the museum almost on our own—allowed for a different phenomenology of being there.
Green Art Gallery has announced that it has signed Iraqi-American artist Michael Rakowitz to its stable. An exhibition of new works from the internationally well-regarded artist is scheduled for the autumn of 2022 at the gallery in Alserkal Avenue.
By Charles L. Davis II
The espousal of the doctrine of Negro inferiority by the South was
primarily because of economic motives and the inter-connected
political urge necessary to support slave industry; but to the watch-
ing world it sounded like the carefully thought out result of experi-
ence and reason; and because of this it was singularly disastrous for
modern civilization in science and religion, in art and government,
as well as in industry. The South could say that the Negro, even
when brought into modern civilization, could not be civilized, and
that, therefore, he and the other colored peoples of the world were
so far inferior to the whites that the white world had a right to rule
mankind for their own selfish interests.
– W.E.B. Du Bois, Black Reconstruction in America
Chicago-based artist Amanda Williams – tipped by architect Frida Escobedo as one of 25 creative leaders of the future in Wallpaper’s 25th Anniversary Issue ‘5x5’ project – uses colour to dissect politics, urban landscapes and Black social space.
THE BALTIMORE MUSEUM OF ART (BMA) recently made a major acquisition announcement. The museum has received a promised gift of 90 works of art by nearly 70 artists from museum patrons Nancy Dorman and Stanley Mazaroff, alongside 175 purchases and gifts made during winter and spring 2021.
Three architects, three journalists and two designers gathered over Zoom to make a list of the most influential and lasting buildings that have been erected — or cleverly updated — since World War II. Here are the results.
Want more evidence that your professional career need not define you after you move on? These retirees — among them a former lawyer, a marketer, a teacher and a therapist — have become successful artists who have had major gallery showings or won prestigious awards, or both, with their “second act” of self-expression. To them, creativity and the passion to express it were always there; they just lay dormant, waiting for the right time to emerge.
Baltimore-born, Brooklyn-based artist Derrick Adams is recognized for his portraits of scenes from everyday life celebrating Black culture and self-determination. I discuss with Jeanne Greenberg Rohatyn, founder of Salon 94, about his art market. Her New York City-based art gallery has represented Adams since September 2019.
We’re living through a Gordon Parks renaissance. Parks achieved many firsts as an acclaimed Black photographer, writer, musician and film director, making him an obvious figure to celebrate as the art world reckons with racial injustice.
On April 28, 2021 Design in Dialogue welcomed Amanda Williams, an artist whose work questions the ways that context changes the perception of the material culture of the built envionment.
The Iraqi-American artist Michael Rakowitz is best known for remaking lost artifacts out of food packaging. He talks to Apollo about his anti-war memorial for Margate and about mining history for new meanings.
Growing up among the ‘onion fields and big skies’ of rural america, artist jacob hashimoto collected an open and abundant perspective. ‘It makes you see culture and cultural patrimony through an oddly shaped lens,’ he shares with designboom in this exclusive interview.
“April is the cruellest month.” A century after TS Eliot immortalised a pavilion on Margate beach by writing The Waste Land there — “on Margate Sands I can connect nothing with nothing” — another American takes the poem’s opening lines as the title of his new public sculpture for this bleakly beautiful, socially troubled stretch of coast, and teases out many difficult global connections.
Artist Michael Rakowitz describes himself as someone who creates encounters, structures, and objects—his sculptural practice is “as an exertion of pressure,” he recently told Brooke Jaffe for “ARTnews Live,” our ongoing IGTV series featuring interviews with a range of creatives.
One of the challenges of talking coherently about Michael Rakowitz’s exhibition at the Wellin Museum is coming to an understanding of what the work is: Is it a memorial to lost cultural heritage, an act of historical recovery, a collective bereavement, or a model for survival? Perhaps this essay is my attempt at answering this question.
Ideas pour from Derrick Adams, and what’s surprising is how many of them work out. A couple of years ago, around the time that he was making his Floater paintings, depicting Black people lounging on swimming-pool inflatables, he thought, Why not start a creative persons’ retreat where the only obligation would be to appreciate leisure?
Moon Dust (Apollo 17) transforms the BMA’s majestic Fox Court, evoking in viewers a sense of wonder. For the next seven years, museum visitors can enjoy the sublime light installation by Spencer Finch. For this episode of Art Matters, the New York-based artist spoke with BMA Director Christopher Bedford about Moon Dust and how the installation’s 447 lights and 150 fixtures are a scientifically precise representation of the chemical composition of moon dust gathered during the Apollo 17 mission. Listen to the Five minute interview by clicking here.
It is difficult to explain the erasure of the Black body in imagery linked to American recreation and to expound on the psychological damage of not seeing oneself reflected in the world one inhabits. So much of the experience of being Black in America is born of escape—escaping slavery and servitude and systemic persecution, escaping the pain of generational trauma—that Adams’ paintings feel like an American Dream rendering unabashed Black joy in full saturation. Black joy is the primary aesthetic of the work and it begins a conversation on who is afforded leisure in America, and why. Cleverly, Adams constantly reminds us how race, gender, politics and power dictate our visual culture, and how ecstatic joy only exists in relation to the extremity of violence. But this is not the sole aim of “The Last Resort.”
Northwestern art Prof. Michael Rakowitz seeks to explore the diaspora between Iraq and Iraqi immigrants through his work recreating lost artifacts and reliefs from the ancient Iraqi city of Nimrud. Watch the video (Click here). Closed captions available.
A new collective of Black architects and artists, formed out of a show now at MoMA, aims to “reclaim the larger civic promise of architecture.” The MoMA show was organized by Sean Anderson, an associate curator at the museum, and Mabel O. Wilson, an architect, Columbia University professor and author, among much else, of “White by Design,” which describes the Modern’s failure to display and collect works by Black architects and designers.
March 7 marked 15 years since Gordon Parks' passing. The photographer, musician, film director and activist will always be remembered as "one of the greatest photographers of the twentieth century". Born into poverty and segregation in Fort Scott, Kansas, in 1912, Parks was drawn to photography as a young man when he saw images of migrant workers in a magazine. After buying a camera at a pawnshop, he taught himself how to use it. He once famously said: "I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera."
Mayor Lori E. Lightfoot will join the Mayor’s Office of Community Engagement and other City leaders for a celebratory virtual event to commemorate Black History Month by honoring 20 Black community leaders for their commitment to supporting and advocating for Chicago’s dynamic Black residents.
Drawing upon his Iraqi-Jewish heritage, Michael Rakowitz critiques ongoing systems of colonization in his sculptural and participatory work. The artist recounts a formative memory from his childhood, when his mother took him to see reliefs depicting the lion hunt of Ashurbanipal in the Assyrian galleries at the British Museum and posed the question, “What is this doing here?” For Rakowitz, this moment crystalized his understanding of museums as places of extraction, colonization, and crime. In his work today, Rakowitz explores ways to subvert the imperialist role of museums, interrogate the value they place on objects over people, and create ongoing systems for repair and accountability.
Because this year marks the 50th anniversary of his groundbreaking 1971 film, “Shaft”; because two fine shows of his pioneering photojournalism are currently on view at the Jack Shainman galleries in Chelsea; because a suite from his influential 1957 series, “The Atmosphere of Crime,” is a highlight of “In and Around Harlem,” now on view at the Museum of Modern Art; and because, somehow, despite the long shadow cast by a man widely considered the pre-eminent Black American photographer of the 20th century, he is too little known, the time seems right to revisit some elements of the remarkable life, style and undimmed relevance of Gordon Parks.
Usher, Jim Carrey, Bruno Mars, Marilyn Minter, and David Hockney are among the more than 100 creative stars who have made artworks in memory of Black women killed by the police. The works will appear in “Show Me the Signs,” an exhibition and auction benefiting the womens’ families.
The proceeds of the sale will go to the #SayHerName Mothers Network, run by the African American Policy Forum.
“Black women and girls do not fit the most accessible frames of anti-Black police violence, and because of that, it’s difficult to tell their stories in a way that people recognize and remember,” said #SayHerName founder Kimberlé Crenshaw in a statement. “By working with the families of slain Black women, AAPF’s #SayHerName campaign resists Black women’s invisibility by telling their stories.”
Participants were asked to make work in the spirit of solidarity and empowering love, and the results vary widely. Starting bids range from just $1—for the Haas Brothers’ cardboard sign that encourages bidders to “do more than bidding on a sign”—to up to $20,000 for works by Rashid Johnson and Nancy Rubins.
This essay was written in March 2020 after the exhibition Julia Fish : bound by spectrum closed at the DePaul Art Museum.
Now, six months later, our lives have been dramatically altered and constrained. Wracked by devastating losses from the COVID-19 pandemic, the challenges posed by current political realities and perilous climate changes, many of us, limited to virtual screens,
have sheltered in place. During days of self-quarantine, our surroundings have become spaces of confinement and refuge. Julia Fish’s attentive representation of domestic realities
and infinite, even metaphysical transformations become imaginative models for how we might experience this elongated moment.
Paradoxically, looking at these artworks, based on spectral precision and poetic revision, we are compelled to consider existence beyond the frames.
Fish’s gorgeous thresholds, always prescient, are even more urgent.
The relevance of object-image to Rezac’s works is spot-on. What should be frivolous in his art is not, because the object’s physical properties forge a connection through strong antinomies. The image comes into sharp enigmatic focus through an unapologetic assertion of difference.Take Soliloquy (2019) for example. In some parallel universe, a carpenter’s workbench and underground grain vaults cohabit, and the resulting tool plays a practical role.
Forbes contributor Chadd Scott speaks to Derrick Adams and Hudson River Museum Director Masha Turchinsky about pervasive images of blackness within Western art and the importance of representing black leisure.
Amanda Williams responds to Blackout Tuesday, a viral Instagram movement in reaction to recent police brutality and racism, with her new series: What Black Is This, You Say?
“My beginning of the series was actually a little bit of a pushback both of the need for people to think there has to be an immediate answer, usually not a well thought out answer, and simultaneously that Blackness is monolithic,” Williams said. “So, all Black people need to get on board with subscribing to a certain way of expressing Blackness, or frustrations with injustice. And there’s less and less tolerance for more than one way to do that.”
The Washington Post offers a beautiful and attentive review of Gordon Parks' new book of photography The Atmosphere of Crime: "Parks’s photographs present a more insightful, delicate and disinterested view. They remind us that an atmosphere is not the same as a narrative. One is complex, pervasive, inchoate and, like a fog, it can lift. The other is linear. Like an obsession, it keeps corkscrewing ahead, leaving all kinds of damage in its wake."
Beautiful review of Martha Tuttle's new installation: a stone that thinks of Enceladus, at Storm King Art Center in the Hudson Valley.
"Ms. Tuttle has gathered boulders from Storm King’s property, most of them about knee-height, and placed them around the clearing with a contrapuntal casualness; resting on each boulder are delicate sculptures of rocks, crafted in the artist’s studio from milky glass or solid marble, and arranged with the same tossed-off elegance as the boulders themselves. These humble cairns conjoin “real” and “artificial” stones, not to mention the lichens growing on the boulders’ surfaces and the grass beneath your feet into a poem of vibrant matter."
ARTFORUM contributor Erica Rawles interpretes Torkwase Dyson's intricately layered and richly textured paintings through the lens of the Plantationocene, alligning her material choices whitin the space of her canvases with the experiences of Black Americans navigating the inequal and oppressive infrastructures of American cities. "Dyson’s melds of overwhelmingly precise delineations with fluid grounds, sometimes punctuated by arrow-like forms, seem to be encrypted guides to a way out of the boundless tumbling problems of the Plantationocene," Rawles closes her review, "Or maybe her work merely reminds us of the possibility that such a path might exist."
Artnet news reviewed Derrick Adams: Buoyant on view at the Hudson River Museum. Buoyant is the first museum exhibition of Adams’ Floaters series and debuts We Came to Party and Plan (extended through October 18), new related works the artist created during his summer 2019 Rauschenberg Residency. Adams' Floaters depict a world where joy, love, leisure, and even prosaic normalcy play central roles, methodically filling the many voids and omissions in popular visual culture depicting African Americans.
In lieu of her Open House Lecture at Harvard Graduate School of Design scheduled for April 2, 2020 that was cancelled due to the Covid-19 outbreak, Williams speaks with Sala Elise Patterson about her work, purpose, and path.
Brandon Sward beautifully reviews Michael Rakowitz's 2017-2018 survey show at the MCA, Backstroke of the West, in print and online in Issue 04 of Full Bleed Journal.
"As a whole, Backstroke of the West demonstrates that history is not just what is remembered, but also what is forgotten, and is composed of not just what is present, but also what is absent. In this way, there’s much resonance between Rakowitz and Benjamin, who similarly understands translation as attending to both what is and is not on the page. It’s as if language is a room, and a text is a voice reverberating through it; the bigger the room, the more influential the voice, the smaller, the weaker."
John Yau of Hyperallergic reviwes Julia Fish's recent survey at the DePaul Art Museum, bound by spectrum. Yau celebrates Fish's keen observation and rigorous commitment to the "small sensations" of her physical space. He notes the uniqueness of her practice which "collapses the long-held fiction that painters paint and conceptual artists think." Fish's steadfast mapping of her own domestic space is ever more relevent during quarantine, Yau explains, as her work questions: "how far does any one of us have to go in order cross the threshold from one space (or world) to another? What does it mean to pay attention to what is underfoot, to our passage in the familiar, ever-changing spaces of everyday life? How does invention differ from production?"
Inspired by the recent Netflix Documentary, The Last Dance, which follows the Chicago Bulls' 1997-'98 season, journalist Cason Sharpe investigates the aesthetic and cultural legacy of Michael Jordan. Sharpe features a 2018 Nathaniel Mary Quinn portrait entitled, Jordan, and discusses its departure from the artist's signature style of Francis Bacon-esque distortions. Quinn's portrait of Jordan is painted with an "admiration that’s evident in the cartoon-like exaggeration of Jordan’s jawline and neck, with the white gleam in his eyes echoing the white of his handsome smile."
Caroline Kipp, Curator of Contemporary Art at The Textile Museum in Washington D.C., speaks with Anne Wilson about art and life during quarantine. Anne discusses conceptual and material processes behind recent work prepared for her exhibition, If We Asked About the Sky, which will be held at Rhona Hoffman Gallery once restrictions are lifted:
"The work proposes both smallness and vastness, and inhabits a space of contemplation between the mortal world and a celestial universe that is infinite and unknowable. With the proliferation of media images of death, destruction, and injustice that constantly surround us, this work is a meditationon living in and through loss. How does one recognize and respect a life? What is the space between living and dying? Can a drop of blood be placed in a galaxy beyond the trauma of mortality?"
Heading up the long driveway to Nancy Rubins’s Topanga Canyon studio, I saw heaps of crumpled airplane parts and accumulations of rusted-out playground equipment before I saw the artist herself. The metal scraps piled up under persimmon trees and next to constellations of purple and chartreuse cacti. Some idled, waiting and untouched, but others had been bound together in ecstatic masses that resembled gnarled asteroids or colossal mold spores. The forms existed in that liminal, mesmerizing place between grotesque and gorgeous, primordial and futuristic.
Derrick Adams collaborates with the late fashion designer, Patrick Kelly, by juxtaposing materials from Kelly's archive with his own abstract collages and sculptures. In this exhibition Adams seeks to “talk about fashion, talk about the form, talk about the body without using the figure.”
A.O. Scott of The New York Times discusses the context and the legacy of Gordon Parks' film The Learning Tree (1969). "The Learning Tree is something else...an absolutely personal film, entwined with its creator’s own experiences, that lays authoritative claim to a place in the American mainstream. At Life (and before that at the New Deal-era Farm Security Administration), Parks was known for his intensive, intimate portraits of housing projects, working-class neighborhoods and poor, rural towns, and there was always a risk, given the institutional whiteness of the Time Life Corporation, that those images could be misinterpreted as exotic. But his aesthetic rigor — the beauty and integrity of those images — ensured that Parks was doing more than explaining black life to white America. He was, like his exact contemporary Ralph Ellison (who grew up one state south of Parks, in Oklahoma, and who like Parks eventually went north) committed to the grand midcentury project of explaining America to itself.
Through various motifs, Rezac questions and addresses the problems of articulation and elision within formal and metaphorical relationships. One favored theme is based on framings, moldings, and enclosures; another involves the interactive pairing of volumetric forms on tables. Several works in the show relate to the Baroque architect Francesco Borromini and others Rezac studied during a recent residency at the American Academy of Rome. Rezac’s aesthetic logic appropriately resists clear, easy conclusions. His affinity for structure and artisanal materiality leads to distilled syntheses of form, prompting us to assess his intriguing propositions with engaged, extended looking.
A review of Derrick Adams: Buoyant at the Hudson River Museum in Yonkers, New York. Though the museum is temporarily closed due to COVID-19 viewers can engage virtually with Adams' exhibition on the museum's website.
Pace Gallery has initiated a weekly broadcast series on Instagram to offer some respite during quarantine. "Listening and thoughtful reflection is one answer to the sometimes contradictory chatter and noise of the day. To speak out loud, to listen, and to ask questions of our current times is to be alive and present. This is also one of the roles of art and artists, to create visionary futures and voice our common goals. This series is on hand to ask the questions that keep us awake at night, but also attempt to answer them, delivering live broadcasts and curious, engaged, and informed thinking from our house to yours." Tune in today, April 3 at 5 PM EDT @pacegallery for a conversation between Torkwase Dyson and Hans Ulrich Obrist.
Art in America review of Soil, Seed, and Rain, Nathaniel Mary Quinn's latest exhibition at Rhona Hoffman Gallery.
Richard Rezac presents 14 new sculptural works in his first show at Luhring Augustine Gallery in New York. Due to concerns surrounding COVID-19 the gallery is open by appointment only. Please contact the gallery to make an appointment, or engage virutally with Richard's works on their website.
Alex Jen provides a heartfelt, in depth review of bound by spectrum, Julia Fish's recent survey show at DePaul Art Museum.
Chris Garofalo is featured in Bridge Project's second exhibition, To Bough and To Bend, in which "artists explore ecological issues and look to both religious and historic art practices that help us...find our way back into the living world we share." The exhibition opens in LA on March 11th and will be on view through April 25th.
A discussion of the emotion behind Nathaniel Mary Quinn's new works on paper and paintings on view at Rhona Hoffman Gallery until March 28.
Derrick Adams: Transformers is on view at Luxembourg & Dayan in London through April 4.
A review of Gordon Parks: This Land is Your Land at Rhona Hoffman Gallery.
MoMA has acquired a full set of photographs by Gordon Parks from The Atmosphere of Crime series, a photographic essay examining crime in America he created on assignment with Life magazine in 1957.
An interview with the artist on the occasion of his show at Luxembourg & Dayan Gallery in London, on view through April 4, 2020.
"Organized by the National Gallery of Art and the Gordon Parks Foundation, the traveling exhibit Gordon Parks: The New Tide, Early Work 1940-1950, sifted fact from fiction to present a portrait of the photographer as a young man on his way to becoming a revered artist the power of whose work continues to widely influence new generations, from artists to activists to every day people who continue to see themselves reflected in his work."
Amanda Gluibizzi reviews Rakowitz' current exhibition The invisible enemy should not exist, currently on view at Jane Lombard Gallery through February 22, 2020.
An exhibition of formative works by Gordon Parks is now on view through April 26, 2020 at the Addison Gallery of American Art at the Phillips Andover Academy.
The Akademie der Künste in Berlin, Germany has awarded the 2020 Berliner Kunstpreis in fine art to David Schutter. First awarded in 1948 by the Berlin Senate in commemoration of the March Revolution of 1848, the prize has been given by the Akademie der Künste on behalf of the state since 1971. The Berliner Kunstpreis recognizes individual achievements in the disciplines of fine art, architecture, music, literature, performing arts, and film. One prize is awarded per year by nominations in each discipline. Former fine art recipients include Kader Attia, Isa Genzken, Hanne Darboven, Blinky Palermo, and last year’s recipients, the collaborative performance duo, Prinz Gohlem. David Schutter is the first American artist to be given the award.
John Preus Discusses his upcoming project at The Keller Center at The University of Chicago, opening January 30, 2020.
On a clear October evening, a full house gathered at the Newberry, Chicago’s world-renowned independent research library, to listen to a conversation between author, photographer and former Sun-Times architecture critic Lee Bey and visual artist Amanda Williams.
In his new book, Southern Exposure: The Overlooked Architecture of Chicago’s South Side, Bey documents the physical attributes of significant architecture with striking photographic images portrayed at their best under the bright, blue skies of morning light. Throughout the book he thoughtfully weaves a cultural and social narrative elevating these environs to their rightful importance while criticizing forces and policies that have ignored the South Side’s rich architectural heritage. Echoing Bey’s visual cues, architecture-trained visual artist Amanda Williams’ foreword sets a joyful tone comparing the exuberance of Bey’s work to the happy crescendo of one of her favorite musical pieces: Native Chicagoan Donny Hathaway’s 1970 hit “This Christmas,” with its heartfelt message, “I’m gonna get to know you better,” resounds with the camaraderie and experiences both she and Bey have had with South Side culture.
To put the significance of this book project in perspective, Bey’s ascribed South Side represents an area that makes up more than half the city’s land mass. Approximately bounded by Cermak Road, 138th Street, Lake Michigan and Western Avenue, the area is vast and includes work by architecture and design luminaries, businesses run by notable black entrepreneurs, pioneering artists and a South Side community representing over thirty neighborhoods and a population of nearly 800,000.
A Review of Gordon Parks: The New Tide, Early Work 1940-1950, currently on view at the Amon Carter Museum in Fort Worth, Texas.
Review of the artist's show Bound by Spectrum at the DePaul Art Museum in Chicago, IL.
Torkwase Dyson was named the winner of the 2019 Joyce Alexander Wein Artist Prize, which recognizes the artistic achievements of African American artists who demonstrate great innovation, promise, and creativity.
LA Times Review of Judy Ledgerwood's current exhibition at 1301PE in Los Angeles.
Adam Szymczyk discusses the historical and philosophical underpinnings of David Schutter's Liebermann Suite, which "offers a possibility to overcome the normative, institutional protocols of forgetting through a tentative rendition of what stands in for whatever cannot be seen or told."
Review of Torkwase Dyson's current show, 1919: Blackwater, on view at Columbia GSAPP through December 14.
Discussion of Rakowitz' ongoing project "Beneath the Date Palms," and his contribution to the secnd LA Triennial, Current: LA: Food.
A studio visit and interview with the artist on the occasion of his Gagosian Beverly Hills show, Hollow and Cut.
As a student in the 1970s, Nancy Rubins made igloo-like structures out of mud, concrete and straw, a contrast to the industrial objects she became known for appropriating into large-scale sculptures. Her practice consistently reflects a fascination with found objects, which have included mobile homes, aircraft, and boats. Rubins initially scavenged for domestic appliances at charity shops around San Francisco, collecting nearly 300 television sets for one piece.
Adams discusses Where I'm From, his first solo show in his native Baltimore, and his plans to create a "bed and breakfast" artist residency in Baltimore's Waverly neighborhood.
Review of The Dance of Atoms at Rhona Hoffman Gallery.
Review of Amanda Williams' Colored Theory series and surrounding work.
Interview between Anderson Cooper and Nathaniel Mary Quinn.
The Wall Street Journal asks Nathaniel Mary Quinn about his career and upcoming exhibition.
The prize recognizes artists who “elevate the understanding of sculpture and its possibilities.” Rakowitz is the fifth recipient of the honor.
Review of Where I'm From, at the Gallery in Baltimore City Hall.
Review of Natalie's newest body of work in “Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank” at Salon 94.
Michael Rakowitz' new cookbook - A House With A Date Palm Will Never Starve - continues his ongoing project on the literal and metaphorical significance of Iraqi dates.
Jacob Hashimoto talks about his new installation in Chicago's Willis Tower
Gelare Khoshgozaran reviews Rakowitz' exhibition Dispute Between the Tamarisk and the Date Palm
Megan N. Liberty reviews Deana Lawson's monograph recently published by Aperture.
Lori Waxman reviews HUTOPIA, a group exhibition at the Neubauer Collegium featuring work by Preus.
Review of the latest event in the Brooklyn Museum’s regular series “Breaking the Canon,” which addresses the institution’s collecting of African-American art.
A look at how the photographer translated his humanistic view of urban crime to the silver screen.
Amanda Williams’s Cadastral Shaking (Chicago v1), which depicts a redlined map of Chicago that has been rearranged in effort to imagine how the city’s rampant inequality could be reconfigured, is currently on loan to newly inaugurated Chicago Mayor Lori Lightfoot.
Review of Dispute Between the Tamarisk and the Date Palm at REDCAT.
Amanda Williams and Olalekan Jeyifous won the inaugural commission for She Built NYC with their monument proposal for Prospect Park.
Interview with Anne Wilson in light of the release of the publication Vitamin T: Threads and Textiles in Contemporary Art.
Review of Mr. President... Mr. President... at Rhona Hoffman Gallery.
Review of New Icons at Mary Boone Gallery.
Review of Paper Mirror at MoMA PS1, New York.
Inspired by the drawings of Natalie Frank, Grimm Tales opens Friday at Ballet Austin, Texas.
Review of Dimensions of Citizenship at Wrightwood 659.
Review of Derrick Adams: Interior Life at Luxembourg & Dayan, New York.
Torkwase Dyson named the Spring 2019 Robert Gwathmey Chair at The Cooper Union.
Review of Paper Mirror at New York's MoMA PS1.
Review of Dimensions of Citizenship: Architecture and Belonging from the Body to the Cosmos at Wrightwood 659, Chicago.
An interview with Martha Tuttle in her Brooklyn studio.
Review of Julia Fish: Floret at David Nolan Gallery.
Review of Nancy Spero: Unbound at the Colby College Museum of Art.
Review of America's Playground at Miami Beach's Faena Hotel.
Review of Deana Lawson at Sikkema Jenkins.
Review of Gordon Parks: The New Tide, Early Work 1940-1950 at the National Gallery of Art.
The Massachusetts Museum of Contemporary Art celebrates the tenth anniversary of its exhibition, Sol LeWitt: a Wall Drawing Retrospective, by adding another decade to its long-term presentation.
Arthur Lubow profiles Deana Lawson in The New York Times.
Derrick Adams unveils a seven-story mural at the Fashion Outlets of Chicago in Rosemont that is inspired by the late fashion designer Patrick Kelly.
Review of The Dark Isn’t the Thing to Worry About at SITE Santa Fe.
Solo exhibition of works by artist Torkwase Dyson opens October 4th at Colby Museum of Art, Maine.
Review of Clouds and Chaos at The Crow Museum of Asian Art.
Spencer Finch opens Fifteen stones (Ryōan-ji) at Kyoto's “The Temple of the Dragon at Peace” as part of a program of artistic interventions at the Mies van der Rohe Pavilion.
Jacob Hashimoto presents two major installations of public art at Governors Island, New York.
Artist Nathaniel Mary Quinn's recounts his own life story.
Review of A Color Removed at FRONT, a new art Triennial in Cleveland.
Review of Soundtrack at M+B gallery.
Interview with the artist in light of her exhibition Natalie Frank: O at Half Gallery.
Review of the United States Pavilion Dimensions of Citizesnship at the Venice Architecture Biennale.
Profile of Amanda Williams by Ted Loos.
This year's Venice Architecture Biennale shaped for the first time by Chicagoans.
Study of Gordon Parks's photograph American Gothic.
Profile of Deana Lawson by Zadie Smith.
Review of Address at the Renaissance Society.
Review of Far From the Tree at Rhona Hoffman Gallery.
Rezac and curator Solveig Ovstebo discuss Address at the Renaissance Society.
Interview with the artist in light of his new body of work.
Review of Far From the Tree at Rhona Hoffman Gallery.
Review of Me, Myself, and I (A Group Show) at Berggruen Gallery.
David Schutter is a recipient of a 2018 John Simon Guggenheim Memorial Foundation fellowship in the Fine Arts category.
Interview between Michael Rakowitz and Evan Moffitt.
The Graham Foundation for Advanced Studies in the Fine Arts reveals the five creative professionals inaugurating its fellowship program.
In July of 2014 the American artist Nancy Rubins opened an exhibition of sculptures at Gagosian in New York with the name “Our Friend Fluid Metal.” The naming was accurate because in an art practice now spanning over four decades, she has been able to get by with a little help from a lot of her friends, which have included small appliances, television consoles, mattresses, playground animals, airplane parts, canoes, sailboats and kayaks, various kinds of cake and dense layers of graphite. Her material friendship has allowed her to find that “little speck of territory that nobody has really looked at before,” which is how she defines “originality,” a quality she seeks out. Her practice has never been predictable, and the large-scale sculptures and drawings that have emerged from it have captivated and vexed viewers from the beginning.
Review of Backstroke of the West at Museum of Contemporary Art Chicago.
Review of I Am You | Part 1 at Jack Shainman Gallery.
Review of The Dark Isn't The Thing To Worry About at Rhona Hoffman Gallery.
Review of Martha Tuttle and Henry Chapman at Rhona Hoffman Gallery.
Interview with the artist by Jude Stewart.
Review of a hand well trained at Rhona Hoffman Gallery.
Review of The Creative Act: Performance, Process, Presence at the Guggenheim Abu Dhabi.
Review of Dancers and Dominas at Rhona Hoffman Gallery.
David Schutter in Conversation with Dieter Roelstraete.
Torkwase Dyson writes about ways to center black subjectivity through artistic abstraction.
Luis Gispert and Jeff Reed discuss their project Stereomongrel at the Whitney Museum.
Public Art Fund and Forest City Ratner Companies announce Spencer Finch: Lost Man Creek.
Review of SPOLIA at Istituto Centrale per la Grafica, Rome.
Review of Another Place at the Sharjah Art Foundation.
Review of The Relative Appetite of Hungry Ghosts at Rhona Hoffman Gallery.
Review of Mapping Vienna, a year-long site-specific project in Austria's capital.
Review of Saturated Light at Rhona Hoffman Gallery.
Review of Martha Tuttle at Tilton Gallery.
Review of In the Cosmuc Fugue at Rhona Hoffman Gallery.
Edition review of Study for Autograph Repetition (2013) by Susan Tallman.
Review of Aqua Regia at OHWOW Gallery.
Interview with the artist by Laura M. Mettam.
Review of Edaphology of a Superterrestial Panmictic Population at Rhona Hoffman Gallery.
Review of Thread Lines at The Drawing Center, New York.
Review of Thread Lines at The Drawing Center, New York.
Review of What is Not Clear is Not French at Rhona Hoffman Gallery.
Review of David Schutter by Josephine Halvorson.
Review of Signal at Rhona Hoffman Gallery.
A look into Natalie Frank's studio in light of her upcoming exhibitions at Rhona Hoffman Gallery, Chicago and The Drawing Center, New York.
Review of The Beast at Hyde Park Art Center.
Review of What is Not Clear is Not French at Rhona Hoffman Gallery.
Review of Robert Heinecken retrospective at the Museum of Modern Art, New York.
Review of Sensing the Technologic Banzai at Cherry and Martin Gallery.
Review of Susan Hefuna at Rhona Hoffman Gallery.
Review of Copywork at Friedrich Petzel Gallery.
Review of Decepción at Mary Boone Gallery.
Review of Chromatic Paintings for Chicago and Blob Paintings at Rhona Hoffman Gallery.
Review of Luis Gispert at at MOCA North Miami.
Profile of Nancy Spero by Phoebe Hoban.
Review of Portable City, Notations, Wind-Up at Rhona Hoffman Gallery.
Review of Threshold II at Rhona Hoffman Gallery.
Review of Between: Stairs and Landings at Rhona Hoffman Gallery
Review of Recent Sculpture at Rhona Hoffman Gallery.
Review of H2O at Rhona Hoffman Gallery.