Yayoi Kusama, Sonia Boyce and Richard Wright are among the artists who have created works for the 10 brand-new stations. London's long-awaited Elizabeth Line is finally here.
After two long years of virtual celebration, last night, the Gordon Parks Foundation’s annual gala has returned stronger than ever. At the height of evening traffic, art aficionados, curators, activists, and more entered the doors of Cipriani 42nd Street for a night celebrating social justice and the arts in the name of Gordon Parks.
Collection of 244 Works, Organized into 15 Study Sets, Advances Opportunities for Scholars and Students to Engage with Parks’s Legacy through Research, Exhibitions, and Multidisciplinary Curricula
Michael Rakowitz is a US American-Iraqi artist who gained recognition for his project “paraSITE” in the early 2000s. The editorial team at Parasite Art reached out to him, as one of the first artists in our knowledge to use the concept of the parasite in his work.
Kemper Museum’s ‘Natalie Frank: Unbound’ exhibit finds truth in fairy tales.
Who was the real Big Bad Wolf, with teeth gleaming, poised to sink into pale young flesh? Why did Sleeping Beauty drift into that deep, anesthetized slumber? Was the ever-gentle Cinderella who graced our childhood TV screens the same one who had birds peck out the eyes of her stepsisters on her wedding day?
Context is everything in Derrick Adams: Sanctuary, now at the African American Museum in Philadelphia. At a glance, the works are lighthearted—deceptively so, because they were inspired by a practical response to racism.
Derrick Adams moved to New York from Baltimore nearly 30 years ago because there weren’t many opportunities for him as an artist. Now Adams, 52, whose work has been recognized worldwide, wants to create spaces for Black artists in Baltimore, so they won’t have to leave home to find success.
In Looks, artist Derrick Adams references the immense potential of a wig to alter an appearance and construct a persona. The exhibition, which is on view at the Cleveland Museum of Art through May 29 alongside a survey of art and fashion photography titled The New Black Vanguard (opens May 8), shows nine of Adam’s portraits rendered in the artist’s distinct geometric style evocative of “Benin heads, Kwele masks, Kota reliquary figures,” and other West African masks and sculptures, he says in a statement.
When visitors step into artist Jacob Hashimoto’s abstract worlds at the University of Mississippi Museum and Historic Houses, he hopes that they can see faint reflections of the world they know and use them as a gateway to new ideas and perspectives.
Within “The Other Sun,” the artist’s exhibit at the museum, thousands of small, simple kites hang from the ceiling. Together, however, these jungles of paper pieces meld into sweeping abstracted landscapes.
The UM Museum is hosting a digital artist reception and lecture from 1:30 to 3:30 p.m. Tuesday (April 19) in the museum’s Speaker’s Gallery. Refreshments will be available alongside a gallery walkthrough, with Hashimoto delivering his talk via Zoom at 2 p.m.
I am still processing Martha Tuttle’s exhibition at Rhona Hoffman Gallery, “An ear, a hand, a mouth, an offering, an angel.” Revisiting the images in my phone’s camera roll, I zoom in on a patch of tufted hand-spun wool or the taught seam where it connects with a swath of painted silk, creating a crisp silhouette of the aluminum stretcher bar just behind. I smile at a photo of an adult and child crouching low to examine the titular installation which consists of small natural(ish) objects—quartz, stones cast into steel, a nut casing—arranged lovingly, meticulously in the gallery corner. (What makes one material more “natural” than another? Tuttle might ask).
CHICAGO — Late last month Chicago Mayor Lori Lightfoot said she “fully expects” to return a controversial statue of Christopher Columbus to its former pedestal in Grant Park.
That was concerning news to members of the mayor’s committee reviewing Chicago monuments, emails obtained by the Chicago Tribune show.
University of Illinois at Chicago art history professor Lisa Lee sent an email to the committee and city officials on March 29, saying she “was surprised/astounded/perplexed/flummoxed/distraught by the Mayor’s comments about the Columbus statue ... and I am wondering if you might be able to give us an update about the status of the report or any other insights if possible?”
What’s your favorite fairy tale? Do you like modern-day kids’ versions, or the old adult stories, filled with sex and violence? If you’re reading The Pitch, we’re fairly certain we know the answer.
by Brandon Reintjes, Senior Curator and Carey Powers, Marketing and Communications Coordinator
In 2020, Irish artist Brian Maguire was invited by MAM to participate in the Emily Hall Tremaine Curatorial Research project investigating how the museum might present an exhibition around the issue of Missing and Murdered Indigenous People (MMIP).* MAM is planning a juried exhibition of contemporary Native artists who are engaged with this issue in addition to an exhibition of Maguire’s work featuring portraits of those who have gone missing. Maguire was in Missoula from May to September 2021, a rare artist-in-residency for the museum. Maguire came as a 2021 Fulbright Scholar, a prestige that allowed him to travel from Ireland specifically for this project.
Two paintings that each span at least 12 feet in width at the Missoula Art Museum depict the carnage of bombings in Aleppo, Syria, during its civil war.
They’re from a series Irish artist Brian Maguire has titled, “War Changes Its Address.”
“I think it's probably the simplest, most poignant way to talk about how these scenes are replayed over and over again,” said Carey Powers, the MAM’s communications and marketing director.
It will open in Chicago's Willis Tower
The interactive exhibition Color Factory, known for its photogenic displays and massive ball pits, is opening its third permanent location, inside Chicago’s Willis Tower.
The 25,000-square-foot space—the Color Factory’s biggest to date—will feature artists from around the world, including Camille Walala, Yuri Suzuki, Tomislav Topic (of the artist duo Quintessenz) Liz West, Anne Patterson, Christine Wong Yap, Harvey and John, and Michele Bernhardt, as well as four artists with ties to Chicago in Edra Soto, Akilah Townsend, Adrian Kay Wong, and Emilie Baltz.
In the Midwest in the 1930s, Gordon Parks was a young railroad porter who would gather magazines that passengers left behind and study the photographs carefully.
He’d focus on images of migrant workers, taken by Farm Security Administration photographers documenting the social and economic plight of Americans during the Depression.
“I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs,” Parks later recalled. “I knew at that point I had to have a camera.”
Born in Fort Scott, Kansas, in 1912, the youngest of 15 children, Parks grew up on his family’s farm and then moved to St. Paul, Minnesota, to live with an older sister, leaving high school before graduation.
CLEVELAND, Ohio — Black American artists often have portrayed racial injustice through images of conflict and suffering. Derrick Adams, a highly acclaimed mid-career New York artist, whose work is the subject of an elegant and seductive exhibition on view at the Cleveland Museum of Art, has taken a different path.
The 52-year-old multidisciplinary artist portrays Black life through images of ravishing beauty that are steeped in his deep knowledge of art history and a commitment to highly polished visual thinking and object-making.
EXPO Offers Limited Edition Derrick Adams Print
EXPO CHICAGO will offer an exclusive print edition by acclaimed artist Derrick Adams in celebration of the fair’s in-person return to Navy Pier, April 7-10. “Silver Lining” is an edition of one hundred and is printed by Tandem Press, publisher of fine art prints, in collaboration with Rhona Hoffman Gallery. “We renewed a tradition of the early Chicago fairs in 2019 by collaborating with artists Nick Cave and Bob Faust and Landfall Press, to publish a limited edition print that commemorated the exposition and supported EXPO CHICAGO’s Curatorial Initiatives programming,” Tony Karman, EXPO president-director says in a release. “We are extremely proud to celebrate the return of our in-person 2022 exposition with this extraordinary new print.” The print is available for advance purchase here and on-site at EXPO CHICAGO.
EXPO CHICAGO the international exposition of contemporary and modern art, today announced an exclusive print edition by acclaimed artist Derrick Adams in celebration of the fair's in-person return to Navy Pier, April 7-10.
Opening on March 10, 2022, Awol Erizku’s exhibition Memories of a Lost Sphinx is the first in a series of three solo exhibitions organized by director Antwaun Sargent at Gagosian’s Park & 75 location in New York.
Memories of a Lost Sphinx will offer a constellation of contemporary images that explore the conceptual framework of the sphinx as a hybrid, cross-cultural symbol that embodies riddles, wisdom, divinity, thresholds, and the transition between life and death.
The four-month program will include individual presentations featuring new works by Erizku, Alexandria Smith, and Amanda Williams, marking the first dedicated exhibition for each artist at Gagosian. The series follows Sargent’s curatorial debut at the gallery with Social Works in New York and Social Works II in London.
Maguire (b. 1951, Dublin) is an Irish artist whose work stems from his involvement in the civil rights movement of Northern Ireland in the 1970s. In his work, Maguire draws attention to marginalized voices by occupying a role as facilitator, which he is uniquely careful not to exploit. This overview of Maguire's human rights-focused paintings include important loans from Christian Groenke and Gulia Bruckman, the TIA Foundation in Sante Fe, New Mexico, the Rhona Hoffman Gallery in Chicago, the Kerlin Gallery in Dublin, the Fergus McCaffery Gallery in New York City, and Gallerie Christophe Gaillard In Paris.
The threads connecting Nashville InternaAonal Airport’s arAsAc redesign reflect the state’s peaceful rolling hillsides, its tranquil glimmering rivers and, of course, popular country music. There’s even a reference book outlining Tennessee’s most beauAful features for the designers and architects recreaAng the expanding 1987-era terminal. The terminal centerpiece will be a $900,000 shimmering hanging sculpture made of 8,000 fiberglass rods that mimic the many colors of the Tennessee sky and clouds.
The work of Michael Rakowitz (b. 1973, Long Island) interrogates the history of museums and their historical complicity in extractive and colonial legacies. His practice aims to establish a new dynamic of reparation and accountability. Born into a Jewish-Iraqi family, the American artist explores the transformations brought about by exile and finds ways to resuscitate images, forms, or architecture(s) that have disappeared, or are about to be erased.
Whether you want to call it Black History Month or as Ye has suggested, Black Future Month, we’d like to take each and every day to promote the incredible work being made by Black creators from around the globe. From the legendary prose of acclaimed novelist, Toni Morrison, Lubaina Himid’s theatrical compositions, to Nathaniel Mary Quinn’s disruptive portraiture — we picked our top exhibitions by prominent and emerging Black artists to see in 2022.
From photography by Gordon Parks to new watercolours by Madeline Hollander, the APAA (Association of Professional Art Advisors) share their top picks from the Frieze Los Angeles 2022 edition.
Celebrated for his documentary photography of civil rights issues and poverty throughout the United States, this work by Gordon Parks stands out for the considered composition and thoughtfulness captured on both subjects faces, and the architecture we find them in.
Dealers want to control the artists’ narrative and pricing, but investors want to leave it to the market
Chicago gallery owner Rhona Hoffman has three or four collectors she won’t sell to again.
“They broke the rule,” says the contemporary art dealer.
That commandment to collectors: If you later decide to sell your artwork, consign it back to the gallery—do not put it up at auction.
When buyers ignore this rule and auction off recently purchased pieces, it’s called flipping.
American artist Michael Rakowitz (b. 1973) grew up in an Iraqi family in New York, and lives and works in Chicago. Across two decades, his practice has focused on highlighting the invisibility of Iraqis beyond images of conflict, either through food, archaeological artifacts or other narratives. In “Réapparitions,” on view from February 25 to June 12, 2022 at FRAC in France, the artist recreates or “re-appears” the missing and destroyed artifacts taken from the National Museum of Iraq after the American invasion in the early 2000s.
Yale has acquired some of the Black photographer’s best-known images.
INDIVIDUALLY, THE PHOTOGRAPHS GORDON PARKS produced during his long and storied career are iconic: Ella Watson, Park’s own American Gothic, posed stoically in front an American flag with a broom and a mop; Muhammad Ali, up close, his head bowed in contemplation; an unnamed Black family in Shady Grove, Alabama, waiting for ice cream at the “colored” window. But taken together, says curator Melissa Barton, the impact is overwhelming. “It is so moving to be able to see all these photographs all at once,” she says. “It’s so powerful.”
Recently, I had the pleasure of working with my friend Kyle Simon, who has started Farrington Press outside of Joshua Tree, California. The press is off-grid, meaning it functions on solar power, and the water and materials Kyle brings in strapped to his pickup truck.
Black history: These African American figures deserve to be celebrated.
There are a number of hidden heroes that are rarely discussed in classrooms, or around the dinner table, and while their names might not sound immediately familiar, these famous figures have shaped history and deserve the spotlight.
Tifrere hopes to add Sam Gilliam and Frank Bowling to her collection this year.
Curator and art advisor Mashonda Tifrere has been collecting art since she was 18, when she signed her first music publishing deal in 1999. Highlights of her music career include being a featured performer on a Jay-Z single and a role as part of the original cast of VH1 reality show Love & Hip Hop: New York.
A wonderful assortment of extras pays tribute to Gordon Parks’s breakthrough film.
Based on Gordon Parks’s semi-autobiographical novel of the same name, The Learning Tree unfolds through the eyes of the teenage Newt (Kyle Johnson) as he experiences his first pangs of love and struggles to retain his self-respect and ideals in the face of rampant prejudice. While it’s hardly a radical film in its racial politics, the small-scale, deeply personal drama is compelling in its specificity whenever it homes in on the more quotidian aspects of black lives in rural America that, even today, are rarely glimpsed on screen.
Marie-Catherine Le Jumel de Barneville was born into a rich family in the fall of 1652. At thirteen, she was wed by her mother to the middle-aged Baron d’Aulnoy, who had purchased his title. Three months pregnant that same year, in the summer of 1666, she inked a jinx in the margins of a fifteenth-century religious play from their library:
It has been almost 200 years since this book was made, and whoever will have this Book should know that it was mine and that it belongs to our house. Written in Normandie near Honfleur. Adieu, Reader, if you have my book and I don’t know you and you don’t appreciate what’s inside, I wish you ringworm, scabies, fever, the plague, measles, and a broken neck. May God assist you against my maledictions.
Madame d’Aulnoy would bear six children. (The first two died young.) But she’d also become the mother of a best-selling genre in early modern France: the literary fairy tale, in which her curses would be very much at home.
For his solo exhibition “Pleat,” Richard Rezac transformed the gallery into a cabinet of wonders. All fourteen of the objets d’art on display—two mobiles, two stabiles, and ten wall pieces—were curious constructions, at once eccentric and rarefied. His sculptures occasionally call to mind pieces by Alexander Calder in their formal inventiveness, but are more gnomic and, of course, less monumental. Each work is crafted from an ingenious combination of contradictory materials, such as hard inorganic metal or cement (aluminum, bronze, Hydrocal) and soft organic wood (cherry, maple, pine), the dialectical conundrums suggesting the inherent absurdity of art by reason of its alienness to lived experience, its remoteness from reality.
There is something reassuring about living in a city stretched along a lake. In Chicago, once you figure out where you are in relation to Lake Michigan, your sense of direction crystallizes. Streets snap against a grid whose point of origin is downtown at the intersection of State and Madison. Addresses increase or decrease from that center, with odd numbers on the south and east sides of the streets, and even numbers to the north and west. A longtime graphic designer who grew up here once told me that he could determine exactly where he was in the city just by looking at the addresses. That might seem mundane—and we do of course now have Google Maps—but I believe this sense of order in Chicago has a grounding effect in subtle ways that can be specific and unexpected and diffusely felt.
Michael Rakowitz’s work in Istanbul is of momentous significance, as his solo show, ‘The invisible enemy should not exist,’ offers locals and travelers a window into his epic vision of repatriation
Derrick Adams’s studio in a partially converted Brooklyn warehouse is a bright, tidy space: white walls, a pair of white sofas. In September, a painting hanging on one of the walls is a peephole into another world altogether: a museum gallery is decked out for a party. There are balloons, and a “Happy Birthday” banner. On the museum wall, in this tableau, is a painting of the movie poster for Mr. Soul, the 2018 documentary about groundbreaking TV producer and talk show host Ellis Haizlip and his program SOUL!, which ran on public television from 1968 to 1973, and threw a spotlight on the Black Arts Movement. In the center of the gallery are two sculptures: the late artist Elizabeth Catlett’s 1955 Target, the bust of an African American man from the collection of the High Museum in Atlanta, and a sculpture of a powerful female figure by Mali’s Bambara people. Both are wearing party hats, and the Bambaran sculpture has a blowout noisemaker in its mouth. The sole human guest at the festivities is a museum security guard, a Black woman, who blows a bright pink celebratory bubble of gum. The piece exudes joy; it is itself a celebration of Black culture.
Shaft, the pioneering blaxploitation film directed by Gordon Parks, came out fifty years ago. To commemorate the anniversary, Howard Greenberg Gallery has mounted an exhibition of Parks’s photographs from 1948 through ’67 that purportedly exemplify a “cinematic approach” to the medium and thus foretell the artist’s successful crossover. This conceptual framework is a slippery one—after all, the look of mainstream cinema changed dramatically over that period—but the curatorial gesture is nonetheless productive. Some purists might prefer to keep the artist’s exquisitely composed and carefully printed documentary photographs, many of which he created on assignment for Life magazine, separate from his later sojourn into popular entertainment. This show asks, at least in theory, what we might learn by reappraising the canonical in relation to the mass cultural.
From overhyped Banksys to Keith Haring lookalikes, artists weigh in on their pet peeves (and what they admire, too).
Beauty may be in the eye of the beholder, but artists often see things differently from the rest of us. A masterpiece to a layperson’s eye might only make an artist roll theirs. On the other hand, we might be too quick to overlook an extraordinary work hiding in plain sight.
We asked six artists what they think are the most underrated and overrated works throughout art history. Here’s what they said.
Anthology Film Archives screens a near-complete retrospective of the photographer’s films, including the bio-pic “Leadbelly” and the private-eye thriller “Shaft.”
The photographer Gordon Parks was the first Black director to make a major-studio feature: “The Learning Tree,” from 1969, an autobiographical drama about growing up in Kansas in the nineteen-twenties. It’s screening in Anthology Film Archives’ near-complete retrospective of Parks’s films (through Dec. 11). Also included are the TV movie “Solomon Northup’s Odyssey,” the bio-pic “Leadbelly,” the personal documentary “Moments Without Proper Names,” and, of course, the Harlem-based private-eye thriller “Shaft.”
The painter Brian Maguire’s latest show, Remains, tells a story that none of us can turn our back on.
"It will take a minimum of 18 days to walk to Phoenix. You will need a minimum of three gallons of water per day per person.” That’s 54 gallons of water. It’s too much to carry, but without it anyone who tries to cross the Mexico-US border by walking through the Arizona-Sonoran Desert will die. These figures come from an enlarged poster pasted to the wall and stretching to near ceiling height at the Crawford art gallery in Cork as part of the Irish painter Brian Maguire’s latest show, Remains.
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.
After previously looking at the issue of kidnapped women in Mexico, the Irish artist's exhibition at the Crawford highlights the dangerous journey by migrants crossing the border to the US
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.
Richard Rezac, an artist in his late sixties, practices in Chicago. In 2018, the Renaissance Society, a space under the auspices of the University of Chicago, held a retrospective of three decades of the artist’s work, to considerable acclaim. In “Pleat,” the artist’s show now up in New York, Rezac’s work defies easy description, being a complex amalgam of truly ordinary materials placed as wall works, with one or two pieces hanging from the ceiling, which are all resolutely abstract. One looks for obvious influences without much success; the art may be a consequence of looking at minimalist sculpture, but this presupposes a concern with modernism, which Rezac shows little interest in. Instead, these are assemblages made of everyday materials, in which the substance and the theme are oriented toward a sophisticated populism, in today’s culture not a paradox in terms.
There's been a resurgence in recent years of artists using materials like textiles and ceramics in siting domestic settings as creative spaces, a nod to the influence of the 1970s Pattern and Decoration (P & D) art movement.
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.
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.
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.
"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."
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.
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.
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.
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.
Interview between Anderson Cooper and Nathaniel Mary Quinn.
The Wall Street Journal asks Nathaniel Mary Quinn about his career and upcoming exhibition.
Jacob Hashimoto talks about his new installation in Chicago's Willis Tower
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.
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.
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.
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.
This year's Venice Architecture Biennale shaped for the first time by Chicagoans.
Rezac and curator Solveig Ovstebo discuss Address at the Renaissance Society.
Review of Me, Myself, and I (A Group Show) at Berggruen Gallery.
Interview between Michael Rakowitz and Evan Moffitt.
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 The Dark Isn't The Thing To Worry About at Rhona Hoffman Gallery.
Public Art Fund and Forest City Ratner Companies announce Spencer Finch: Lost Man Creek.
Review of Another Place at the Sharjah Art Foundation.
Review of The Relative Appetite of Hungry Ghosts at Rhona Hoffman Gallery.
Edition review of Study for Autograph Repetition (2013) by Susan Tallman.
Review of The Beast at Hyde Park Art Center.
Review of Portable City, Notations, Wind-Up at Rhona Hoffman Gallery.