ContributorClaudia La Rocco
CLAUDIA LA ROCCO writes about performance for the New York Times and is the founder of thePerformanceClub.org, which won a 2011 Arts Writers Grant. She is a member of Off The Park press, where she is editing an anthology of poems by painters. She is on the faculty of the School of Visual Art's graduate program in Art Criticism and Writing.
Whitney Biennial 2022: Quiet as Its KeptBy Charles Schultz
MAY 2022 | ArtSeen
You either start in darkness, or you start in the light. One is not better than the other, but the choice is the first one that affects your experience of the Whitney Biennial. The show spreads out across multiple floors, but it mainly takes place on two: one is designed like a labyrinth, the other as an open field. Its a dramatic shift. In the labyrinth your eyes cant travel far; in the open field there is almost nothing to stop them.
AestheticsBy Dr. Tina Rivers Ryan
MAY 2023 | Critics Page
I dont remember the first time a digital artwork made me cry, but of the many times it has happened, I remember a few quite clearly. One of the most memorable was in 2018, when I was viewing Christiane Pauls important historical survey at the Whitney Museum, Programmed: Rules, Codes, and Choreographies in Art, 19652018.
Stanley Whitney: TwentyTwentyBy Amanda Millet-Sorsa
DEC 21-JAN 22 | ArtSeen
Stanley Whitneys recent exhibit of new paintings presents his lifelong exploration of an endless oasis of color.
Chris Burden: Cross CommunicationBy Cal McKeever
APRIL 2023 | ArtSeen
How do you preserve a work whose medium is rooted in ephemerality? How does a work retain its performance-ness (as opposed to the video-ness, photograph-ness, object-ness, etc. of standard documentation) fifty years down the road? These questions are on full display in Chris Burden: Cross Communication, an exhibition featuring documentation of twenty-two performances from 197180, without presuming to contain the answers.