In the lead-up to Larry Poons’s exhibition Momentum at Yares Gallery, David Rhodes paid a visit to the painter at the studio he has occupied on Broadway, just south of Union Square, since 1975.
Andres Serrano gained international fame—or some would say notoriety—in 1989 when his photograph Piss Christ became embroiled in the battle to defund the NEA. Over the years Piss Christ has continued to ignite controversy and is periodically attacked and defaced when it is publically exhibited. Meanwhile, Serrano has continued to create beautfully crafted, provocative photographs that touch on such themes as faith, sex, death, homelessness, race and bigotry.
Lin Tianmiao is one of the most powerful female voices to emerge from and endure the vicissitudes of Chinese contemporary art over the past two decades. Since the mid-1990s, she has been making labor-intensive, traditional craft-based sculptures and installations breathtaking in their obsessive and dangerously precise transformation of everyday objects.
I think I hate my show, Andrew Ross told me laconically the morning of his recent opening—Actually, I think I’ve hated most of my shows. This seriousness—hovering between mocking cynicism and desolate sincerity—helps define Ross as one of the major sensibilities of his generation. At 28, he is at the fore of a group of young artists mining the slippages between images and objects—in physical space and online—that effortlessly merge material abstraction with representational form.
THE HELD ESSAYS ON VISUAL ART
By Sheila Heti
I Didn't Like Sitting With the Rattle for Hours:
On the Motherhood Paintings of Paula Modersohn-Becker and Mary Cassatt
Gustave Flaubert wrote to his lover, Louise Colet, after she visited his Paris apartment three times and was becoming, he felt, a real nuisance: Madame... I was not in; and since I greatly fear that further persistence on your side would expose you to affronts from mine, good manners force me to warn you: I shall never be in.
People let their guard down on subways the way they do in the back seat of cars or on long flights. The constant motion soothes them to sleep, open mouthed, body heavy, slumped into a posture perfect for an artist like Guno Park, who after 10 years in New York, has developed a talent for spotting subway slumberers.
The award-winning Moscow-born filmmaker and photographer Alexander “Sasha” Kargaltsev has lived in Brooklyn for the past seven years.
A feminist multimedia artist and curator, Ellen Cantor’s work began to garner critical acclaim in the early 1990’s. As part of a generation of young feminist artists interested in female representation, Cantor explored the relationship between fiction and life, good and evil, and the role of the female protagonist.
Now is the time to rethink the relationship between race and representation. This is not about simply increasing the number of minority artists, critics, and art consumers, but a question of re-imagining what representation could look like when we think expansively through the affective parameters of race.
A hurricane of entitlement flooded America long before the Trump era, perverting creative training and arts funding earlier than this stormy political season. American entitlement is so perverse that folks not only feel entitled to abundance, but to waste their abundance—from the misguided logic of buying more than they need to throwing away perfectly fine objects because not wanting them anymore is reason enough to chuck.
Across America, more people in the cultural community are coming to understand why racial justice and equity matter. Of course, this is not a new issue for many; but the current “woke” moment catalyzed by the daily assaults on democracy—and the prospect of catastrophic consequences beyond four years of a Trump presidency—make it impossible for all but the most insular to remain complacent. Last week in Los Angeles, a group of Latina women arts leaders spoke with me about the handful of Latino arts institutions that are more than four decades old.