Tacita Dean: LA Magic Hour & LA Exuberance, February 4 – May 1, 2022
Gemini G.E.L LA Magic Hour, a new series by Tacita Dean
Faith Ringgold, Mother’s Quilt, 1983. Painted, appliqued, and embroidered fabric with sequins, 58 × 43 ½ in. (147.3 × 110.5 cm). Collection Ed Bradley & Patricia Blanchet.
As They Saw It—Artists Witnessing War, The Clark Art Institute
Opens: March 5, 2022
Yinka Shonibare, Medusa West
Catherine Clinger, Repair To and Fro, 1., from ‘Pendant Photographs,’ 2018-2020.
This project seeks to expand our conventional understanding of the diptych form – emphasizing the pendant’s power to reconcile evident caricatures in order to achieve a hidden ideal.
Robert Frank 1924-2019
“It highlights the fear and pain and danger of an illegal abortion, which is what desperate women have always resorted to. It’s very wrong to criminalise women on top of everything else. Making abortions illegal is forcing women to the backstreet solution. I’m doing what I can with my work but both men and women need to stand up to this. It affects men too. You don’t get pregnant on your own do you?” -Paula Rego
Mariana Castillo Deball, No Solid Form Can Contain You (2010)
Tania Bruguera states, ‘“As an artist I feel my duty today is not to exhibit my work at an international exhibition and further my personal artistic career, but to be with my fellow Cuban artists and to expose the vulnerability of Cuban artists today.”
The photographs of Czech artist Tereza Zelenkova displace participants both within and outside the picture plane – the viewer and the imaged; paradoxically, distant and intimate.
Hock E Aye Vi Edgar Heap of Birds, Surviving Active Shooter Custer, 2018
Ben Shahn, If Not Now, When?
27 October 2018, Pittsburgh, Pennsylvania USA
Hilma af Klint: Paintings for the Future
October 12 through February 3 at the Solomon R. Guggenheim Museum, New York.
Peter Matthiessen wrote “The Snow Leopard,” his celebrated account of a spiritual journey in the Himalayas, he began it with a quote from Rainer Maria Rilke that bears directly on this bafflingly beautiful show:
“That is at bottom the only courage that is demanded of us: to have courage for the most strange, the most singular, and the most inexplicable that we may encounter. That mankind has in this sense been cowardly has done life endless harm; the experiences that are called ‘visions,’ the whole so-called ‘spirit-world,’ death, all those things that are so closely akin to us, have by daily parrying been so crowded out by life that the senses with which we could have grasped them are atrophied. To say nothing of God.” [added, Nov 1 2018]
excerpt from article:
Charles White: A Retrospective
Through Jan. 13 2019 at the Museum of Modern Art, NY. Feb. 17-June 9 2019 at the Los Angeles County Museum of Art.
Ireland to and fro, 1. [CC]
Ireland to and from, 2. [CC]
I Smelled A Raw Recruit: The World War Films of Mary Reid Kelley and Patrick Kelley
at the Butler Gallery, Kilkenny, Ireland, August 11 – October 7, 2018
ICE Agents Storm My Porch
Adrian Piper at MoMA Spring 2018
‘Racism is a visual pathology. … To the extent that the primary foundation of racism is visual, it is commensurate with sexism. Some people are discriminated against because they have breasts, while others are discriminated against because they have woolly hair. If you happen to have breasts and woolly hair, you are in double trouble.”
[Maurice Berger, ‘Interview with Adrian Piper,’ in Art, Activism, and Oppositionality: Essays from Afterimage, ed. by Grant H. Kester, 1998, p. 228.]
Feminist Artist Statement
March 2007 Adrian Piper
Feminism is that state of affairs in which women compete with men to give support and encouragement to one another, rather than competing with one another for rewards and approval doled out by men.
I consider myself to be a feminist, according to this definition, because I work to achieve a feminist state of affairs in my personal and professional relationships with other women. I do not consider myself to be a feminist artist because I do not do my artwork in order to achieve this state of affairs, nor is this state of affairs the primary subject matter of most of my artwork. When asked to speak to this issue, my practice is to reiterate the same criticism I made in Political Self-Portrait #1 (1979). Following is a more recent version of that criticism:
I answer this request with observations based on my personal experience and not on theoretical analyses I have read (not many) or public pronouncements I have heard (too many). I continue to hope that I will encounter some feminism in my lifetime. So far I haven’t gotten lucky. We took the first step toward feminism in the 1920s and the second in the 1960s. But we still are not even close to anything that deserves the name of feminism. Aside from all of those theoretical analyses and public pronouncements, today I mostly encounter the same dysfunction I criticized in Political Self-Portrait #1 [Sex] in 1979: We are still competing with one another for approval and rewards doled out by men. We are still subordinating our familial, social and professional relationships with one another to our familial, social and professional relationships with men. And we are still advancing our narrow self-interests with men at the expense of our deeper wellbeing and interests in one another.
*© Adrian Piper Research Archive 2007
1)“I Answer This Request with Observations,” Gloria: Another Look at Feminist Art in the 1970s (exhibition catalogue) (New York: White Columns, 2002), 2
Prince’s original studio version of ‘Nothing Compares 2 U’ is presented here for the first time this month [Released by his estate].
Prescient to our circumstances in 2018, a Jeff Wall work from 25 years ago.
Spring Equinox 2018 Haiku
Off go the wicked
A leavetaking due long past
[Image: Jeff Wall, ‘A Sudden Gust of Wind (after Hokusai)’ 1993]
Aperture above Iceland [Catherine Clinger]
Hardangervidda, [Film Still, Catherine Clinger]