Art Seen: National

DEMIAN DINÉYAZHI’ // THE HENRY ART GALLERY

By Luke A. Fidler Demian DinéYazhi’ (Diné) is the latest and last recipient of the Brink Award—given biennially to Northwest artists under the age of thirty-five—and is the first to make Native life central to their practice. Through zines, stickers, Instagram posts, and a well-stocked Etsy store, DinéYazhi’ has advocated powerfully for intersectional forms of[…]

MARIA LASSNIG: NEW YORK FILMS 1970–1980 // MoMA PS1

By Mary L. Coyne While spring in New York has had its share of major exhibitions by female artists—Carolee Schneemann, Adrian Piper, the group exhibition Radical Women (organized by the Hammer and touring to the Brooklyn Museum), and an outdoor rooftop installation at the Metropolitan Museum of Art by Huma Bhabha—one of the most remarkably[…]

CLARISSA TOSSIN: ENCONTRO DAS ÁGUAS // BLANTON MUSEUM OF ART

By Hiba Ali Where does our e-waste—smartphones, keyboards, and Wi-Fi routers—end up after arriving at the dump? Eighty percent of it is deconstructed, and the process of retrieving its usable metals is typically extremely toxic, part of it continues on to the Pacific Garbage Patch—a large area of floating plastic and trash located halfway between[…]

WENDY RED STAR // THE MANIACS

By Michelle J. Lanteri Portland, Oregon-based artist Wendy Red Star’s (Apsáalooke [Crow], b. 1981) touring exhibition, Wendy Red Star: The Maniacs (We’re Not The Best, But We’re Better Than The Rest), honors her father Wallace Red Star, Jr.’s musical career and service in the Marines, transforming the contemporary art cube into a hall of fame.[…]

LAURA OWENS // WHITNEY MUSEUM OF AMERICAN ART

By Terry R. Myers >click here to download PDF One of the added benefits of this well-timed mid-career survey of Laura Owens’ paintings comes from it having been organized by the Whitney Museum of American Art. Lately, we have been reminded that painting can still matter, which it always has—despite, or perhaps because of, the[…]

LANGUAGE OF PERMISSION

ANNA MARIA MAIOLINO // MUSEUM OF CONTEMPORARY ART, LOS ANGELES By Paige Landesberg >click here to download PDF Anna Maria Maiolino’s vocabulary is expressed through a combination of form, symbol, and material that articulates the artist’s path through labor, motherhood, and migration. The first room of her recent self-titled retrospective exhibition at the Museum of[…]

TO SPEAK WHAT HAS NO WORDS

PROSPECT.4 // NEW ORLEANS by Ruslana Lichtzier >click here to download PDF In New Orleans, I found myself wandering in a sultry haze, in an obnoxiously cute city. A condition that is not good for the senses. You cannot keep it cool when you are melting. And yet, when I arrived for the preview events[…]

EDIBLE ARRANGEMENTS

NONFOOD // FOOD AS ART AND PRODUCT By Joel Kuennen >click here to download PDF Food, in aesthetic discourse, has its own apex in the culinary arts. The culinary arts are defined by the processing of raw food stuffs into consumable portions, which are in some way better, according to specific cultural and aesthetic norms.[…]

SCAFFALI // MICHELANGELO PISTOLETTO AT LUHRING AUGUSTINE

THE LABORER AND THE ONLOOKER INSIDE by Paige Landesberg When we stand in front of a mirror, we expect to see ourselves and our environment unobstructed in the reflection. In Scaffali, the recent exhibition by Michelangelo Pistoletto on view at Luhring Augustine, we look in the mirror and find ourselves captive in a scene that[…]

WORDS WITHOUT THOUGHTS NEVER TO HEAVEN GO // ALMINE RECH

by Paige Landesberg The presence of text in artwork challenges the set of definitions that we have for words in favor of image. Words Without Thoughts Never to Heaven Go, recently on view at Almine Rech in New York, the exhibition depicts a history of words used in artwork, from early modernism through to contemporary.[…]

STEPHANIE CRISTELLO IN CONVERSATION WITH ALEJANDRO CESARCO

Independent Curators International Curatorial Hub Thursday, January 18 | 6:30–8:00pm 401 Broadway, Suite 1620

 FREE and open to the public Join Editor-in-Chief of THE SEEN Stephanie Cristello as part of this interview with New York-based artist Alejandro Cesarco, in advance of their text being published in Issue 06 (Spring / Summer 2018) at the ICI Curatorial Hub. This conversation[…]

HAYV KAHRAMAN: ACTS OF REPARATION // CAM ST LOUIS

by Annette LePique In Acts of Reparation, the intimacy of Hayv Kahraman’s female bodies foster a space in which Kahraman unites her memories, resistance, and trauma with those of a collective female experience under a postcolonial state. Curated by Wassan Al-Khudhairi, and currently showing at the Contemporary Art Museum of Saint Louis, the works in[…]

LOOKING WESTWARD // A CHICAGO ARTIST RETURNS HOME

By Kate Pollasch Most of us have experienced one artist whose works make words feel inadequate; who creates topographies and compositions that leaves one beguiled in a haze of unending attraction and questions, lost for a way to emote the magnetic complexity of their work. For me, this artist is Miyoko Ito (1918–1983). Born and[…]

MARYAM TAGHAVI // LAXART

REVERSING TIME, RESHUFFLING SPACE, REVAMPING US: A LOOK AT THE WORK OF LANGUAGE IN MARYAM TAGHAVI’S RECENT WORKS By Niloofar Sarlati The use of language in two of Maryam Taghavi’s recent works is bold and timely in the aftermath of the Trump Administration’s travel ban. In Reconstitution, a group exhibition at LAXART in Los Angeles, the[…]

FOR LOVE AND MONEY: SUMMER OF LOVE—ART, FASHION, AND ROCK AND ROLL // DE YOUNG MUSEUM

click here to download PDF By Stephen F Eisenman The City by the Bay is celebrating the fiftieth anniversary of the Summer of Love, but there is a wintery vibe here. Eight thousand people are living on the streets, and sky-high rents (an average $4,500 for a two-bedroom apartment), have turned students and artists into[…]

BLUE BLACK: GLENN LIGON // PULITZER ARTS FOUNDATION

click here to download PDF by Brian Prugh When Glenn Ligon visited the Pulitzer Arts Foundation in St. Louis, Missouri, to consider doing a project, he was looking at Ellsworth Kelly’s monumental painting on aluminum, entitled Blue Black (2000), when he “heard Louis Armstrong’s gravel-strewn voice singing, ‘What did I do to be so black[…]

MI TIERRA // DENVER ART MUSEUM

By Brandon Sward The Denver Art Museum describes Mi Tierra as “site-specific installations by 13 Latino artists that express experiences of contemporary life in the American West.” Although it’s unclear what exactly is “site-specific” about this exhibition, many of its artists are indeed unpacking the history of the Western US. For Claudio Dicochea (San Antonio),[…]

SHIMON ATTIE // ST. LOUIS ART MUSEUM

By Brian Prugh There is something lurking under the surface, or multiple surfaces, of Shimon Attie’s Lost in Space (After Huck). The exhibition invites multiple readings that stack up like floors in a building; what is lurking beneath cuts away at the foundation, threatens the carefully constructed structure, but also carries the potential of new[…]

DIANE SIMPSON // HOUSE IMAGES

click here to download PDF By Susan Snodgrass In The Poetics of Space, Gaston Bachelard’s well-known meditation on the phenomenology of architecture (published in 1957), the interior space of home offers a storehouse of images and experiences by which to unleash the poetic imagination. “[B]y approaching the house images with care not to break up[…]

JIMMIE DURHAM // AT THE CENTER OF THE WORLD

click here to download PDF By Joel Kuennen I am a white male born in the United States.[1] My father was born in Chickasaw County, Iowa, on land stolen from the Ho-Chunk tribe.[2] The Chickasaw never lived there. In some cruel joke, the county was named after a tribe that had lived in the Southern[…]

MERCE CUNNINGHAM // COMMON TIME

click here to download PDF By Robert Chase Heishman Two dancers lay on a rich, saturated pink carpet—their duet, at first, appears as an almost imperceptible one. Through continuous, extremely gradual movements, each dancer moves from one position to the next, over the course of what is an hours-long performance piece. The presence of the[…]

HONOLULU BIENNIAL // NGAHIRAKA MASON

click here to download PDF By Gan Uyeda Ngahiraka Mason served as the Curator of Māori Art for two decades at the Auckland Art Gallery Toi o Tāmaki, New Zealand’s largest public art museum. There, she greatly expanded the representation of Māori art and culture, while consistently demonstrating cross-cultural and intergenerational linkages between thinkers and[…]

ED FORNIELES // THE FINILIAR

By Elliott Mickleburgh After reading through the headlines of your local newspaper, do you ever curiously flip to the business section and puzzle through the jargon found on those pages? The articles themselves are intelligible enough—tech startups are bought and sold, American pharmaceutical corporations are contemplating tax shelters in the Republic of Ireland, Wall Street[…]

SARAH HOBBS // PSYCHOLOGICAL TRACES

by Brian Prugh The photographs included in Sarah Hobbs’ Psychological Traces, currently on view at the Indianapolis Museum of Contemporary Art, depict interior spaces that tell a psychological story. The conceit of these photographs is to give insight into the psychology of a room’s decorator (and implied occupier), who, though absent, has left some significant[…]