New Museum

View of “Intertwined,” New Museum, New York, 2023. Courtesy: the artist and New Museum. Photo: Dario Lasagni

At the Cost of Ambiguity

The largest-ever retrospective of a living artist at the New Museum, New York charts Wangechi Mutu’s turn from the material resonance of found-object collages to the easy symbolic iterations of bronze sculpture.

Discourse

Kate Cooper, Somatic Aliasing  (2021). Courtesy the artist

Kate Cooper, Somatic Aliasing (2021). Courtesy the artist

The Downward Spiral: Five Years

With nostalgia taking hold at The New Museum Triennial and MoMA PS1’s survey of Greater New York, Dean Kissick wonders: what’s so great about it? When art gets sucked back into tradition, where is the future to be found?

Views

Lorraine O’Grady (American, born 1934). Rivers, First Draft: The Woman in Red starts painting the stove her own color , 1982/2015, digital chromogenic print from Kodachrome 35mm slides in 48 parts, 40 × 50 cm. Edition of 8 + 2 AP. Courtesy Alexander Gray Associates, New York. © Lorraine O’Grady/Artists Rights Society (ARS), New York

Lorraine O’Grady. Rivers, First Draft: The Woman in Red starts painting the stove her own color, 1982/2015, digital print, 40 × 50 cm. Courtesy Alexander Gray Associates, New York. © Lorraine O’Grady/Artists Rights Society (ARS), New York

Lorraine O’Grady: Both/And

Exhibitions are frequently deemed “overdue”, but perhaps nowhere is it as true as with the first retrospective of Lorraine O’Grady, the 81-year old trailblaizer of feminst performance art, which opened at the Brooklyn Museum last month. Isaac Jean-François on her expansive, celebratory work.

Views

#52