Art Seen: National

OPEN SPACES // KANSAS CITY’S FIRST ARTS BIENNIAL

By Andrea L. Ferber, PhD At 10 PM the glowing exterior lights of the Nelson-Atkins Museum contemporary wing shut off, creating a perfect outdoor cinema for Jennifer Steinkamp’s video installation Retinal (2018). Digital bubbles and umbilical-cord-like strands in translucent orange, blue, yellow and green slowly float across six conjoined windows, visible from the street. Crickets[…]

To Watch and Be Watched

THE RACIAL IMAGINARY INSTITUTE: ON WHITENESS // THE KITCHEN By Paige Landesberg In 2016, poet and author Claudia Rankine received $625,000 as a stipend from her MacArthur Genius Grant and decided to put the funds toward founding The Racial Imaginary Institute, an organization that gives artists and writers a platform to address issues of race.[…]

Stitching Temporalities

ADRIAN PIPER: A SYNTHESIS OF INTUITIONS 1965–2016 // MUSEUM OF MODERN ART By Caroline Picard Adrian Piper: A Synthesis of Intuitions 1965– 2016 collects nearly 300 individual works of the artist’s work, beginning with late-adolescent paintings, to more recent reflections on the Black Lives Matter movement. What emerges from this assembly is an ongoing interrogation[…]

Sable Elyse Smith

MEN WHO SWALLOW THEMSELVES IN MIRRORS // SITE SANTA FE By Natalie Hegert The United States has the highest rate of incarceration in the world. It is a statistic we have become accustomed to hearing. But those numbers leave out the reality, the impact, and the imprint of the carceral state—what Ta-Nehisi Coates terms “the[…]

From the Front

FRONT INTERNATIONAL // CLEVELAND TRIENNIAL FOR CONTEMPORARY ART By Susan Snodgrass Urban activist and author Jane Jacobs saw cities as “immense laboratories” for invention. “[L]ively, diverse, intense cities contain the seeds of their own regeneration,” she argued, “with energy enough to carry over for problems and needs outside themselves.”1 An American City, the inaugural edition[…]

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[…]