#martha-rosler

#martha-rosler

"Whenever you manage, through cinema, to cast doubt on the assumed nature of things, you might be approaching something really interesting. And when you have done that once, there's no way back."

The documentary, created by Dr. Igea Troiani, Dr. Mamuna Iqbal, artist and researcher Paula Roush, and filmmaker Rime Tsujino, brings visibility to the experiences of six architects of South Asian origin.

"Most people don't stop to observe the crews' work or the infrastructure they uncover," Tentler-Krylov said. "But these unseen things keep the city going."

By installing my sculpture Vertical Highways V03 in front of Rockefeller Center, I want to initiate a dialogue of art and architecture that resonates with the urban history of New York City.

Opening April 10, Keith Haring: On the Street marks the first time his painted 1963 Buick Special and 1983 Range Rover will be shown together in Manhattan.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

Laura Berger continues her explorations of communion in a suite of staggering paintings that place her signature minimal figures in intimate fellowship with one another and the earth.

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

Founded in 2014 as a tongue-in-cheek alternative to the esteemed Whitney Biennial, the Every Woman Biennial has evolved into an intergenerational showcase that mixes emerging talent with established feminist art stars while maintaining the scrappy, activist energy that inspired it in the first place.

The Outsider Art Fair has enriched New York City's art world since its inception in 1993, presenting eclectic and idiosyncratic artists who challenge traditional fine art hierarchies.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

Going out and demonstrating is really important. But if you don't feel comfortable demonstrating, you can volunteer for organizations, you can donate to organizations, you can sign petitions, you can call your senator. There's no excuse not to be involved on some level.

CHICAGO - With her iconic long dark hair curtaining her demure countenance, Yoko Ono has been in my personal pantheon of women makers for most of my life. When I was a distraught teenager in a midwestern suburb, she was there - singing discordant arias from my bedroom stereo. Her siren call couldn't quite be deciphered, but, like a feminist signal from afar, it cut through the fog of oppressive cultural forces.

Taking over the museum's transformed school building starting April 16, the cross-borough survey will celebrate MoMA PS1's 50th anniversary with a bevy of site-specific installations, new commissions, and rarely seen work by 53 artists and collectives living and working across New York City. A complete list of participants is included at the end of this article. This year, Greater New York will coincide with the Whitney Biennial for the first time in the show's history.

In 2024, I made a vow to never base my art criticism on wall labels. My decision came after reading reactions to that year's Whitney Biennial. "If every label in 'Even Better Than the Real Thing,' the 81st installment of the Whitney Biennial, were peeled off the walls and tossed into the Hudson, what would happen?" asked Jackson Arn in the New Yorker. (He went on to suggest that the overall show would have been much better.)

This sprawling installation (or in the New York gallery's parlance, "spatial collage") had transformed the Wooster Street space into a warren of rooms and hallways that resembled a series of stage or film sets, including a "clandestine drug lab," a Chinatown basement store, and a pirate radio station. I gingerly navigated through half-destroyed walls and over uneven floors strewn with detritus, escaping with vivid memories of one of the strangest contemporary art experiences to be had in those years.

Presented with improbable dignity in a golden box is a hanging ornament in the shape of the Trevi Fountain that comes with a "complimentary papal blessing." Its roughly shaped details would be dull if the whole thing weren't drowned in glitter. Under the shop lights, this perfect miniature of late Baroque architecture explodes in shine: a beacon promising a brighter future and a better life.