Institutional Critique (Art Movement)

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Louise Lawler’s Why Pictures Now by Zack Hatfield
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The institution of institutional critique

Simone Leigh’s The Waiting Room by Terence Trouillot
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For her residency at the New Museum, Leigh looks at the act of healing through the lens of black female caregivers, educators, and intellectuals.

Jason Simon by Claire Pentecost
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“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.’”

Institutional Collusion: Merlin Carpenter and Cologne’s “Non-Productive Attitude” by David Everitt Howe

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.”

Shezad Dawood by Doug Ashford
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“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.”

Fia Backström by Robert Fitterman
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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…

Tom Burr by Alan Ruiz
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“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.”

Caroline Woolard by John Haskell
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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. 

Adam Broomberg and Oliver Chanarin by Sabine Mirlesse
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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.

My Barbarian by Andrea Fraser
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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.

Chris Lipomi by Kathryn Andrews
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Kathryn Andrews on Chris Lipomi’s shockingly expansive and daring self-installation The Cave Project.

Tony Conrad by Jay Sanders
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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.

Paul Chan by Nell McClister
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In his drawings and video projections, Chan stakes out the space between opposites as a field of promise.

Theaster Gates by Tom McDonough
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“I like to work very hard,” Theaster Gates remarks in the following conversation, which just might be the understatement of the year. 

Mark Dion by Nell McClister
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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.

Mona Hatoum by ​Janine Antoni
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Mysterious as it is confrontational, Mona Hatoum’s art reads far beyond the realm of identity politics. Fellow artist Janine Antoni explores the complexities of Hatoum’s work and background.

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