Lia Wilson

From this Author

Alec Soth: Summer Nights at the Dollar Tree at Colby College Museum of Art

Alec Soth. Summer Nights at the Dollar Tree, 2012 (video still); single-channel video; 6:23. Courtesy of the Artist.

Alec Soth’s video, Summer Nights at the Dollar Tree, concludes with an excerpt from the Allen Ginsberg poem “A Supermarket in California.”    What thoughts I have of you tonight, Walt Whitman, for I walked down the sidestreets under the trees with a headache self-conscious looking at the full moon.    In my hungry fatigue, and shopping for images, I went into the neon fruit[…..]

Art Brut in America: The Incursion of Jean Dubuffet at the American Folk Art Museum

Augustin Lesage. Composition Symbolique, Amour pour l’Humanité (Symbolic Composition, Love for Humanity), 1932;
 
oil on canvas; 38-1/4 x 27-1/2 in.; Pas-de-Calais, France.
 Collection de l’Art Brut, Lausanne, Switzerland. Photo: Claude Bornand.

Art Brut in America: The Incursion of Jean Dubuffet, currently on view at the American Folk Art Museum in New York, focuses on two events seminal to the introduction of art brut to an American audience. The first was a 1951 speech given by the French artist Jean Dubuffet to the Arts Club of Chicago entitled “Anticultural Positions.” Displayed in full at the museum, the[…..]

Women’s Work at Smith College Museum of Art

Guerilla Girls. The Advantages of Being a Woman Artist from Guerilla Girls, Most Wanted, 1985–2006, 1988; lithograph printed in black on paper, 17 x 22-1/8 in. Courtesy of Smith College Art Museum, purchased with the gift of the Fred Bergfors and Margaret Sandberg Foundation.

The exhibition Women’s Work is constructed within a historical frame. All of the included artists are introduced as individuals prominent in second-wave feminism, defined as a past era from the 1960s through the 1980s, a period with a beginning and an end. It cannot be denied that a great deal has changed in both feminist thought and social mores since then. Third-wave feminism called out[…..]

Mona Hatoum at ICA Boston

Mona Hatoum. Natura morta (Edwardian vitrine), 2010; Murano glass and cabinet; 54 ½ x 24 x 11 ¾ inches. The Institute of Contemporary Art, Boston. Gift of Barbara Lee, The Barbara Lee Collection of Art by Women. Courtesy of Alexander and Bonin. Photo: Joerg Lohse.

Mona Hatoum’s solo exhibition, currently on view at Boston’s Institute of Contemporary Art, is made entirely of newly gifted works from philanthropist and political activist Barbara Lee. The Barbara Lee Family Foundation is focused on advancing female representation in politics. Lee is a major supporter of Hilary Clinton, in addition to being a collector who has shifted her focus exclusively to female artists. At the[…..]

Tseng Kwong Chi at Grey Art Gallery

Tseng Kwong Chi. New York, New York (World Trade Center), 1979, from the East Meets West series; Gelatin silver print, printed 2014; 36 x 36 in. Courtesy of Muna Tseng Dance Projects, Inc., New York

Tseng Kwong Chi: Performing for the Camera is the first major retrospective on the artist, co-organized by the Chrysler Gallery and NYU’s Grey Art Gallery. Bringing Tseng’s body of work to the fore is an important and overdue project; his career was regularly eclipsed by his friends, whose trajectories characterized the 1980s New York City art market boom, most notably Jean-Michel Basquiat and Keith Haring.[…..]

Margret: Chronicle of an Affair at White Columns

3.	Margret: Chronicle of an Affair—May 1969 to December 1970, 2015; detail. Courtesy of White Columns / Delmes & Zander.

Art-historical borders cease to have validity if they stand in the way of new theoretical connections and investigations.

2015 Triennial: Surround Audience at the New Museum

Josh Kline. Freedom, 2015; installation view, 2015 Triennial: Surround Audience, 2015, New Museum, New York. Courtesy of the Artist and 47 Canal, New York.

Surround Audience, the latest triennial exhibition at the New Museum, surveys fifty-one emerging artists, from twenty-five countries, whose practices are informed by their lived experience immersed in the digital landscape. The triennial has always billed itself as a predictive rather than reflective survey, and this iteration is no exception, with a focus on the culture of the immediate present and where it’s hurtling. Though the[…..]