Curation

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Elastic and Unbuilt: The Projective Drawing at the Austrian Cultural Forum by Alexandra Tell
Saupper Judith 01

Contending with Robin Evans and the limits of architectural drawing.

Cynthia Daignault’s There is nothing I could say that I haven’t thought before by Ted Dodson
Cynthia Daignault 01

The ethics of curating as an ethics of care

The Arcades: Contemporary Art & Walter Benjamin by Claire Barliant
The Arcades 01

Benjamin as hollow window dressing

DeForrest Brown Jr. & Bill Kouligas
Brown And Kouligas Bomb 3

“How do you draw information out if you aren’t involved and in love with it.”

Karin Schneider’s Situational Diagram by Wendy Vogel
Schneider 01

De-radicalizing the monochrome.

Nicky Paraiso by Zachary Small
Nicky Paraiso Bomb 2

“I hope it’s not a masochistic impulse within me, but I will always stay until the end to see how a creative thought completes itself.”

Accompaniment by Charity Coleman
Accompaniment Bomb 01

Questions, extractions … of authorship, origin, and connectivity. Kari Cwynar and Kendra Sullivan’s curation of Accompaniment, a group show at EFA Project Space, is meticulous and airtight—the curatorial statement (a chapbook in itself) is a feat of textual and didactic density that leaves no stone or song unparsed.

Susan E. Cahan’s Mounting Frustration: The Art Museum in the Age of Black Power by Terence Trouillot
Cahan Susan 01 Bomb 134

A 1971 photograph by Jan van Raay shows artist Cliff Joseph leading a group of artist-activists—members of the Black Emergency Cultural Coalition (BECC)—in the dead of winter protesting the Whitney Museum’s controversial exhibition Contemporary Black Artists in America (months before its opening on April 7, 1971).

Lisa Immordino Vreeland by Anya Jaremko-Greenwold
Vreeland Bomb 04

“She wasn’t loved, so she didn’t know how to give love.”

William Fowler by Pamela Cohn
John Marbury 1

Restoring, archiving, and exhibiting artists‘ films from the post-punk era.

Assaf Evron by Abigail Winograd
Assaf Evron 01

Art history via conversations

Keith Haring: Languages by Andrew Blackley, Johanna Burton & Scott Treleaven
Haring 1

Ciphers, graffiti hieroglyphs, and lateral communication.

Critical Practices, INC. at the Whitney Biennial / “Supposium 2014” at MoMA by Mónica de la Torre​
Whitney Moma

Pythagoras taught behind a veil to avoid distracting his students with his bodily appearance, which he considered an impediment to their pursuit of pure knowledge. His voice was an acousmatic one—its origin could not be identified.

Brian Rogers by Aynsley Vandenbroucke
Br1  Resize  Body

Brian Rogers talks about reprising his performance piece Hot Box, the challenges of performing, and his compulsion to keep creating.

Catherine Morris and Vincent Bonin’s Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art by Frances Richard
Edschoice Lippard Body

Lucy R. Lippard collects the history of Conceptual Art in this polyphonic text.

The Sound of Silence by Erica Bellman
stillspotting

The Guggenheim invites artists, philosophers, musicians, and curators to spend an evening contemplating the sound and silence of the city at stillspotting ( ) nyc: finale

Dialects and Dialectics by Chelsea Haines & Eriola Pira
Randomly Determined by Kevin Kinsella
​Maximus Clarke 01

Kevin Kinsella discusses the current exhibition on view at the Radiator Gallery, This Is How My Brain Works, which offers a keen curatorial selection of collage art by various artists.

Like the Hummingbird by Legacy Russell
Duchamp Body

Bellatrix Hubert talks with Legacy Russell about the state of the arts, not being a curator, and the buzz of her recent Hummingbird.

Vale La Pena: The 11th Havana Biennial by Liz Munsell
Vale De La Pena 03 Bomb

Still with limited access to travel abroad, the Internet, and other communications technologies, young Cuban artists continue to innovate using their surroundings and available materials.01

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