#embodiment #performance #fashion #commerce #beauty #ReiKawakubo Given their constant presence in our lives, we think surprisingly little about our bodies. When we do, we are often thinking of ways to make them less body, more commodity. For women in particular, the body is the site of our social acceptability and our abjection. Fashion is how we navigate that landscape. Philosopher Kwame Anthony Appiah has proposed that the[…..]
![Installation view of Henry Taylor, The 4th, 2012-2017 and THE TIMES THAY AINT A
CHANGING, FAST ENOUGH!, 2017, with Deana Lawson, Ring Bearer, 2016. [Taylor]
Collection of the artist; courtesy Blum & Poe, Los Angeles/New York/Tokyo. [Lawson]
Collection of the artist; courtesy Rhona Hoffman Gallery, Chicago, and Sikkema Jenkins &
Co., New York. Whitney Biennial 2017, Whitney Museum of American Art, New York, March
17-June 11, 2017. Photo by Matthew Carasella.](http://www.dailyserving.com/wp-content/uploads/2017/04/11_HenryTaylor_DeanaLawson_Install_2017Biennial-sm.jpg)
#representation #WhitneyMuseum #EmmettTill #DanaSchutz #MartinBerger #race #civilrights So much hinges on the question of audience. Who is presumed to engage with artwork, and on what terms? In the museum, people of color so often feel that we are not the intended audience. The hurt that we experience on realizing that disconnect—that we are here for art but art is not necessarily here for us—has now been[…..]
In light of the current controversy over Dana Schutz’s painting of Emmett Till, today we’re re-reading Anu Vikram’s essay about the last Whitney Biennial, in which Joe Scanlan’s use of the fictional Black persona “Donelle Woolford” initiated a heated debate about representation, race, inclusion, and oppression. Vikram notes, “Scanlan’s decision to cast Black women as agents for his personal edification and creative expression […] supercedes concern for[…..]
#art #community #development #displacement #gentrification #Los Angeles What is required for art and social justice to coexist within the development of a city? In February, the activist collective known as Boyle Heights Alliance Against Artwashing and Displacement (BHAAAD) made headlines for their picket of gallery 356 S. Mission Road, which occurred during a political organizing meeting called by a group of Los Angeles artists. And earlier[…..]
In response to the Trump administration’s ongoing display of toxic masculinity at work, the Brooklyn Museum’s Elizabeth Sackler Center for Feminist Art has taken the unusual but vital step of incorporating a project about male identity into their “Year of Yes” thematic takeover of the museum. Iggy Pop Life Class by Jeremy Deller is an inquiry into the nature of manhood, corroborated with art-historical artifacts[…..]
#truth #history #narrative #Afropolitan #multiculturalism #future In an age when fact and falsehood are often indistinguishable, The Ease of Fiction is a title that gives pause. The exhibition, now at the California African American Museum in Los Angeles, was curated by Dexter Wimberly for the Contemporary Art Museum in Raleigh, North Carolina. Having been invited to participate in the exhibition’s collateral programming as a speaker[…..]
As part of our ten-year anniversary celebrations, we’re considering the best of a decade of arts criticism. Today’s selection comes from our executive director Michele Carlson, who writes, “I reread this essay the same day that San Francisco’s first fleet of self-driving Uber cars rolled out and one sailed straight through a red light in front of SFMOMA. This comes on the heels of the[…..]
