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.”
Paper Clip is a weekly compilation of online articles, artifacts, and other—old, new, and sometimes BOMB-related.
We are not all Pierre Guyotat, writing of our capture and interrogation in Algerian solitary in 1962, our words and acts subject to violent retaliation, but maybe we’ve seen our own soul’s bifurcation.
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.
The director of New Museum’s residency/incubator hybrid talks about her plans for the program.
The Guggenheim invites artists, philosophers, musicians, and curators to spend an evening contemplating the sound and silence of the city at stillspotting ( ) nyc: finale
In Beyonsense, Eurasian artist collective Slavs and Tatars channels its inner Zaum in a celebration of the twists of language across cultures, histories, and geographies.
Jennifer Lindblad experiences Carsten Höller and discusses the ways in which his work explores contemporary theories of body.
In her latest Shifting Connections, Kathleen MacQueen reflects on three of her favorites of the season.