Theory + Practice
Theory + Practice is a series supported by The Andy Warhol Foundation for the Visual Arts and the Shelley & Donald Rubin Foundation.
The painter and the historian find common ground by unearthing narrative histories that have been overlooked and nearly forgotten.
The art, activity, dance, and protest of skating.
Lazard’s spare, conceptual works examine the political dimensions of illness and disability and the pleasures of being with and caring for one another.
Two artists and activists share their thoughts on COVID-19 and mutual care.
One hundred years later, Hartman revisits W.E.B. Du Bois’s 1920 short story, “The Comet”—”a speculative fiction about the end of the world written after the pandemic of 1918, after the Red Summer of 1919, and in the context of colonial expansion and atrocity.”
Looking at contemporary photography within a larger historical legacy.
Documenting a cross-cultural politics and aesthetics.
The computer screen conjures pictorial space, but its apparent depth is paradoxical.
Repainting a European encounter with the Ottoman Empire.
An international chess master and a filmmaker play a match while discussing the art of the game and its history in India.
The Atelier’s research into urban morphology and their transformation of its precepts form the basis for Made in Tokyo: Architecture and Living, 1964/2020, an exhibition opening at the Japan Society this October.
The challenge of craft practices to patriarchy and the art world.
The artist’s works amend the white supremacist mythology contained in American monuments and historical paintings: “Democracy requires a clear understanding of the past, including its mistakes.”
Overlooked modernisms on display.
A new series of photographs tracks the Underground Railroad.
The art of dehumanization.
The social practice works of Bon and Tuazon take the form of functional interventions to address and educate about California’s water crisis.
Artists and exhibitions address the AIDS crisis.
Thinking the politics of race in contemporary dance.
Delving into public arts funding, resentment of “cultural elites,” and campaign finance, artist and curator discuss 2016 in Museums, Money, and Politics—Fraser’s examination of the intersection of cultural and political patronage.