ArtSeen
Floor Plans
Contributor
Claudia La RoccoCLAUDIA 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.
RECOMMENDED ARTICLES
Stanley Whitney: In the Color
By Tom McGlynnDEC 18-JAN 19 | ArtSeen
In Stanley Whitney’s magisterially unfolding show at Lisson Gallery’s dual spaces in Chelsea, the artist presents a cycle of paintings and drawings that resemble a calendar of the conscious, a notational form of painting that checks off time as a series of vividly experienced partitions.
STANLEY WHITNEY
with Phong Bui
FEB 2018 | In Memoriam
Jack knew, no matter what: I’m gonna make great art, I’m going to have a great life. It wasn’t about the New York art world, it wasn’t about money. “I’m gonna have this life no matter what.” And that’s what inspired me—no matter what. Jack as a great painter is inseparable from Jack the courageous human being.
2019 Whitney Biennial
By Alex JenJUNE 2019 | ArtSeen
The 57 artists in the galleries and 18 represented in performance and film don’t crowd their work with pointed critiques of racism, sexism, misogyny, and colonialism, but instead invite viewers into their respective worlds and identities.
Teresa Margolles: El asesinato cambia el mundo / Assassination changes the world
By Susan BreyerFEB 2020 | ArtSeen
Originally from Culiacán in Sinaloa, Mexico, Margolles developed an intimate relationship with death while working as a mortician in Mexico City. There, in the early 1990s, she began making work that centered upon the human cost of drug-trafficking violence in Mexico. Her performances and installations employed post-mortem material such as blood and surgical threads to make tangible this shocking and generally unseen human loss.
