Institutional Critique (Art Movement)
The institution of institutional critique
For her residency at the New Museum, Leigh looks at the act of healing through the lens of black female caregivers, educators, and intellectuals.
“Liberty’s show manages to be about prison and not about prison at the same time: her audience writes about how the music lets them forget they’re incarcerated for a moment, and she calls that effect ‘time travel.’”
It’s very tricky, if not kind of futile, to criticize the work of Merlin Carpenter; he does it for you before you’ve even had the chance, calling his art “crap political work.”
“I’m a believer in ‘the artist proposes and the universe disposes.’ On that meeting ground is where the important stuff happens for me, where a set of images, possibilities, dialogues with people both living and dead actually start forming.”
An equation for Fia Backström. In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser…
“Some people are happy calling me an artist, others a Conceptual or post-Conceptual artist, others say sculptor, and others use a string of modifiers. Someone suggested once that I was simply performing these categories, which I like.”
Artists generally fall into two groups: the makers (of objects) and doers (of activities). They survive, more or less, on the largesse of the art world.
When I arrived in London this past September to meet Adam Broomberg and Oliver Chanarin at their studio, the first thing we discussed was the power play between interviewer and interviewee.
Brecht’s estrangement, Artaud’s ritual theatre, Boal’s Theatre of the Oppressed, and camp inform My Barbarian’s performance work: an investigation of what constitutes transformative cultural practice.
Kathryn Andrews on Chris Lipomi’s shockingly expansive and daring self-installation The Cave Project.
Over the past four decades, Tony Conrad’s legendary work in minimalist music, experimental film and video, has been seminal in the development of those art forms.
In his drawings and video projections, Chan stakes out the space between opposites as a field of promise.
“I like to work very hard,” Theaster Gates remarks in the following conversation, which just might be the understatement of the year.
Artists on Artists: Nell McClister, former BOMB Magazine Senior Editor, reviews Mark Dion’s 12-year restrospective which was held in 2003 at the Aldrich Museum in Connecticut.