“I almost never allow myself to sink into the feeling of guilt or shame about not getting enough work done.”
Art
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Caspar David Friedrich Captured the Belated Moment
“He brings in that random, specific, accidental character of the world, and then he makes it feel like there’s some kind of order to it,” says Friedrich expert Joseph Leo Koerner.
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Tracing the Peacock Chair’s History From Manila to Nashville
A complex web of stories encourages us to reimagine the political weight of an unassuming remnant of craft tradition, born of incarcerated labor in the Philippines.
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After More Than 20 Years, Kate Hargrave Lets Her Paintings Leave the Nest
The artist’s new exhibition, her first since graduating from art school in the early aughts, reveals her deep love of art history.
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Re-evaluating the Guerrilla Girls for Today’s Politics
A mini-retrospective of the feminist collective raises the question: What can be learned from this work that applies to today, and is this an effective method of making change?
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The Biting Satire of Eleanor Antin’s Photography
Antin deconstructs both the self and the image as fraught in her staged photographs, and the results are less a punchline than a biting satire.
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Etel Adnan Captured the Light of Many Suns
An artist and poet who traversed multiple cultures, Adnan’s creations are alive with both multiplicity and instability.
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11 Shows to See in Los Angeles This February
Work by artists impacted by last month’s fires, Joseph Beuys’s reforestation project, Alice Coltrane’s rippling influence, and much more.
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Five NYC Shows to Start Your February
Make sure to check out shows by the Guerrilla Girls and Etel Adnan this week, along with a collection of imagined books and other great exhibitions.
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Not All Superheroes Wear Capes, Some Don Gorilla Masks
This one-room exhibition is a good reminder of how this anonymous group of artists changed how we saw the art world.
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Lubaina Himid Asks Who Gets a Seat at the Table
Those empowered to supervise large swaths of humanity too often dehumanize us, whether through the levers of state, financial, or political power.
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What Comes After the End?
John Divola asks us: What am I looking at? Is it real? Where does that distinction now lie, given the technology required to make a photograph now?