Posts Tagged ‘gender’

#Hashtags: Masculine-Feminine

Iggy Pop Life Class by Jeremy Deller. Organized by the Brooklyn Museum, February 21, 2016. © Brooklyn Museum. Photo: Elena Olivo.

In response to the Trump administration’s ongoing display of toxic masculinity at work, the Brooklyn Museum’s Elizabeth Sackler Center for Feminist Art has taken the unusual but vital step of incorporating a project about male identity into their “Year of Yes” thematic takeover of the museum. Iggy Pop Life Class by Jeremy Deller is an inquiry into the nature of manhood, corroborated with art-historical artifacts[…..]

From the Archives: Interview with Judith Bernstein

QUATTRO CUNTS 2015 Oil on Canvas 84 x 84 Inches

In our current age of doublespeak and “alternative facts,” Elspeth Walker’s candid interview with artist Judith Bernstein stands as a paragon of direct communication. As Bernstein says: “[I]t’s important to be true to what you want to say and how you want to handle that. You have to keep moving forward. You can’t just stay where you are. You really have to constantly keep moving in terms of[…..]

Pipilotti Rist: Pixel Forest at the New Museum

Pipilotti Rist. Mercy Garden, 2014; two-channel video and sound installation, color, with carpet; 10:30 min; dimensions variable. Sound by Heinz Rohrer. Courtesy of the Artist, Hauser & Wirth, Luhring Augustine, and New Museum. Photo: Maris Hutchinson / EPW Studio.

I admit that I’m late to discovering Swiss artist Pipilotti Rist. However, given that she has been producing work since the 1980s, and only in 2016 has received her first major retrospective in New York, Pixel Forest at the New Museum, I may not be the only one. The exhibition as a whole is an immersive environment, where one can easily and pleasurably lose time—an[…..]

Citizenship, the Body, and the Ethics of Exposure

Felix Gonzalez-Torres. "Untitled" (Portrait of Ross in L.A.), 1991; Candies individually wrapped in multicolored cellophane, endless supply; Overall dimensions vary; Installation view: More Love: Art, Politics and Sharing Since the 1990s. Ackland Art Museum, University of North Carolina, Chapel Hill. 1 Feb. - 31 Mar. 2013. Courtesy of Andrea Rosen Gallery, New York. © The Felix Gonzalez-Torres Foundation

From our sister publication, Art Practical, today we bring you Michelle Weidman’s piece from “Issue 8.1: Art + Citizenship.” Weidman excavates the ethics of exposure, and the violation and consumption of black bodies, brown bodies, women’s bodies. She asserts, “We live in a society that relishes exposure—see nude photo leaks; the Kardashians; interest in diaries and private correspondence cloaked with the pretense of literary or political[…..]

Best of 2013 – #Hashtags: The Ethnicity Exhibition

Happy holidays! We’re wrapping up the year—and celebrating our tenth anniversary—by taking a look back at the best writing from the last decade. Today’s selection comes from operations manager Addy Rabinovich: “Anuradha Vikram carefully considers the potential problems of curating according to identity politics. Citing Adrian Piper’s controversial withdrawal from Radical Presence, Vikram questions whether the format of the ‘ethnicity exhibition’ truly serves those whose[…..]

Fan Mail: Sarah Beth Woods

Sarah Beth Woods. A Big Diamond, 2016; hair weave, foam, door-knocker earrings; 67 x 7 x 30 in. Courtesy of the Artist.

True to its name, the BRAID/WORK series by Sarah Beth Woods operates within layers of social and material meaning, revealing a deconstructionist character even as it replicates the physical act of weaving. In the creation of these pieces, Woods pulls apart the concepts that make them legible. BRAID/WORK includes a 2016 performance and collaboration between Woods and the Malian-American professional hair braider, teacher, and entrepreneur[…..]

Renowned Feminist Art Historian Amelia Jones Believes that the Discipline of Art History Should be Restructured to Embrace New Narratives and Diverse Voices

2016-01-21-1453385437-8788462-ameliajones-thumb

This week, from our friends at Huffington Post, we bring you an article by artist and writer Jacqueline Bishop exploring the career of art historian Amelia Jones, who has long questioned and worked to challenge existing disciminatory structures as they relate to race, gender, and identity. Bishop quotes Jones, saying “From very early on I found myself interrogating the structures of the discipline, by asking such questions as, ‘Where[…..]