Taking a contemporary perspective, the Whitney is looking back through their collection, reviewing how programming has evolved in modern and contemporary art. Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 begins with early conceptual works from artists like Sol LeWitt, Josef Albers, and Donald Judd, who used rules and instructions to guide their creative practices. By creating and working within these parameters, these early conceptual artists of the 1960s insisted that the idea behind the work was just as important as the work itself.
Art News
Fifty years after their last show, the Art Institute of Chicago presents the first major survey of the Hairy Who, a group of six Chicago Imagists. Similar to New York Pop Art in their use of imagery from advertising, Chicago Imagists differed from Pop artists in their creation intensely personal work.
Through her iconic casts of domestic objects and spaces, Rachel Whiteread has created a language of her own, one that subtly tells stories about the quiet moments of our lives and the places they are lived out. Through the more than 100 objects on display in her survey at the National Gallery of Art, it is clear that throughout her 30-year career, Whiteread has honed this voice, and used it to tap into our intimate memories and feelings related to home.
The Metropolitan Museum of Art has all of their Vincent Van Gogh masterpieces under one roof for the first time in years. The Met owns sixteen Van Gogh's, the largest collection in North America. The works are frequently out on loan for exhibitions at other institutions around the world.
Opening Friday at the Minneapolis Institute of Art (Mia), Sara Cwynar: Image Model Muse uses film, collage, and composite photographs to examine how design and popular images impact our psyches, affect our social and political realities, and mold our conceptions of beauty.
An extensive exhibition at the Met Breuer, "Odyssey: Jack Whitten Sculpture 1963–2017" introduces viewers to the acclaimed painter’s previously unknown sculpture. A groundbreaking innovator in abstract painting, Whitten also created striking sculpture, utilizing wood, nails, fish bones, and other materials.
Vernacular photographs are the lifeblood of affirmative self (re)presentation. For African-Americans, whose relationship with photography has always been complicated—stemming from, among other things, the difficulty with which photographic technology registers melanated skin (see Shirley cards)—portraits are not only personal, but political. Until October 8, the exhibition, African American Portraits: Photographs from the 1940s and 1950s will be on view at The Met Fifth Avenue.
Inspired by a 1989 Guerrilla Girls poster stating, “You’re seeing less than half the picture without the vision of women artists and artists of color,” a new exhibition at the Brooklyn Museum helps viewers get woke. It examines major works, new acquisitions, and rediscoveries in the Museum’s collection through an intersectional feminist lens. Half the Picture: A Feminist Look at the Collection highlights over fifty artists who use their art to advocate for race, gender, and class equality.
Currently at the Peabody Essex Museum (PEM), Empresses of China’s Forbidden City is the first ever international exhibition to explore female power and influence during China’s last dynasty.
The ecofeminist visions of artist Ana Mendieta and writer Rebecca Solnit guide this exhibition of works concerned with how the body relates to the earth. Drawn primarily from the Museum of Contemporary Art Chicago’s (MCA) permanent collection, a body measured against the earth shows how Land Art and the reclamation of and interest in the body found in Feminist Art intersect and converse.
