Posts Tagged ‘New York’

Sophie Calle: Here Lie the Secrets of the Visitors of Green-Wood Cemetery

Sophie Calle, Here Lie the Secrets of Visitors of Green-Wood Cemetery, 2017. Courtesy Paula Cooper Gallery & Perrotin. Photo: Guillaume Ziccarelli.

The historic Green-Wood Cemetery is a sprawling, verdant oasis occupying 487 acres of northwest Brooklyn. For centuries, the site has been a sanctuary for mourners as well as a destination for day-trippers—sightseers, birdwatchers, and picnickers who meander landscaped paths and take selfies under blossoming trees. On April 29, 2017, a new memorial was erected on the summit of Grove Hill: a marble obelisk inscribed with the epitaph, “Here[…..]

Raymond Pettibon: A Pen of All Work at New Museum

Raymond Pettibon: A Pen of All Work, 2017. New Museum, New York. Photo: Maris Hutchinson / EPW Studio

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Lux Yuting Bai reviews Raymond Pettibon: A Pen of All Work at New Museum in New York. Presenting approximately 800 drawings from[…..]

The Intersectional Self at the 8th Floor

Andrea Bowers. Throwing Bricks (Johanna Saavedra), 2016; archival pigment print, 77 1/2 x 57 in. Courtesy of the Artist and Andrew Kreps Gallery, New York.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Jasa McKenzie reviews The Intersectional Self at 8th Floor Gallery. As more feminist marches, protests, and gatherings organize in the wake of the[…..]

From the Archives: Interview with Judith Bernstein

QUATTRO CUNTS 2015 Oil on Canvas 84 x 84 Inches

In our current age of doublespeak and “alternative facts,” Elspeth Walker’s candid interview with artist Judith Bernstein stands as a paragon of direct communication. As Bernstein says: “[I]t’s important to be true to what you want to say and how you want to handle that. You have to keep moving forward. You can’t just stay where you are. You really have to constantly keep moving in terms of[…..]

From the Archives – Beverly Buchanan: Ruins and Rituals at the Brooklyn Museum

Beverly Buchanan. Low Country House, n.d.; wood, 17.75 x 16.75 x 13.25 in. ©Estate of Beverly Buchanan. Courtesy of Jane Bridges and the Brooklyn Museum. Photo: Adam Reich.

On Saturday, millions of women around the world marched to protect their rights and make their voices heard for equality, pouring into the streets and carrying signs with messages both personal and political. In light of the energy their work manifested, today we bring you Lia Wilson’s review of Beverly Buchanan’s exhibition at the Brooklyn museum; unlike the signs and banners from #WomensMarch—many of which are now[…..]

Pipilotti Rist: Pixel Forest at the New Museum

Pipilotti Rist. Mercy Garden, 2014; two-channel video and sound installation, color, with carpet; 10:30 min; dimensions variable. Sound by Heinz Rohrer. Courtesy of the Artist, Hauser & Wirth, Luhring Augustine, and New Museum. Photo: Maris Hutchinson / EPW Studio.

I admit that I’m late to discovering Swiss artist Pipilotti Rist. However, given that she has been producing work since the 1980s, and only in 2016 has received her first major retrospective in New York, Pixel Forest at the New Museum, I may not be the only one. The exhibition as a whole is an immersive environment, where one can easily and pleasurably lose time—an[…..]

Best of 2013 – #Hashtags: The Ethnicity Exhibition

Happy holidays! We’re wrapping up the year—and celebrating our tenth anniversary—by taking a look back at the best writing from the last decade. Today’s selection comes from operations manager Addy Rabinovich: “Anuradha Vikram carefully considers the potential problems of curating according to identity politics. Citing Adrian Piper’s controversial withdrawal from Radical Presence, Vikram questions whether the format of the ‘ethnicity exhibition’ truly serves those whose[…..]