A recording plays from somewhere high, / or low, through the falling dust-light: / I can’t tell you anything new about the river— / you can’t tell a river to itself.
The artist talks about sound art and the historical record.
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.
The Pérez Art Museum Miami director talks about local and global communities.
Sammy Stein is a French artist and publisher. His work has been shown in institutions such as the Museum of Modern Art of the City of Paris, Printed Matter, the French Institute of Tokyo, Essential Store, as well as book fairs including the New York Art Book Fair, Tokyo Art Book Fair, Safari, and Festival International de la Bande Dessinée d’Angoulême.
Featuring selections by Corina Copp, Max Galyon, Patricia Spears Jones, S.D. Chrostowska, Karl Holmqvist, Phillip Lopate, Mary Simpson, and more.
A studio inside a museum.
Upcoming shows, retrospectives, and museum openings highlighted by Maika Pollack, Ratik Asokan, Alex Zafiris, Gideon Jacobs, Michael Barron, Wendy Vogel, Zack Hatfield, and Legacy Russell
Incorporating poems by Maureen McLane, Dorothea von Moltke, Geoffrey Nutter, Rowan Ricardo Phillips, Sal Randolph, Mónica de la Torre, and Monica Youn
The institution of institutional critique
Open floor plans are less open than we think—and ripe for intervention. Oppenheimer’s latest effort is on view at the Pérez Art Museum Miami.
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.’”
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).
“She wasn’t loved, so she didn’t know how to give love.”
Content is only as good as its container.
During a train ride from New York to Massachusetts, Rosa Barba and Joan Jonas exchanged thoughts on volcanoes, deserts, and poetry, on film versus video, and the layering of time and place in their works.
“I just wanted to be sure I didn’t get caught not expressing what I thought was important to me. That can easily happen, because you can easily get discouraged by not being allowed to participate, or just being ignored, when you know your work is beyond ignoring.”