ANDREAS PETROSSIANTS is a New York-based art historian, and a frequent contributor to the Brooklyn Rail.
FEB 2018 | ArtSeen
Noland has specialized in assembling spare, highly symbolic objects of mass consumption, such as beer cans, American flags, and other (often nationalist) products into large indexical sculptures/installations that formally share much with post-minimalist practices that have become more common in the decades since.
MAR 2018 | Art Books
After years of drone warfare, neoliberal “creative destruction,” and the proliferation of propaganda via the management of media channels, it is clear that the spheres of political economy and technological warfare are ever more disturbingly bound with the production, dissemination, and obfuscation of information.
JUL-AUG 2018 | ArtSeen
In one image, a group of protestors carry a body in need of urgent medical attention, or in mourning—a glimpse of the violence perpetrated by the state of Israel on civilian protestors in Gaza on May 14th that killed sixty and injured over two thousand people.
NOV 2017 | ArtSeen
In a review of the Met Breuer’s Delirious: Art at the Limits of Reason, 1950-1980, Emily Watlington convincingly argues that our “delirious times” call for responsively delirious curation.1 As buzzing news alerts stoke excess trauma through an ascendant reactionary (neo-) conservatism, such a call is not off-mark.
NOV 2017 | Music
In March 2016, the newly-founded curatorial platform Blank Forms hosted their first event, a seminar on composer Maryanne Amacher’s investigations of the “psychoacoustic dimensions of human perception.”
FEB 2018 | ArtSeen
A man in a tidy beige linen suit, with hair neatly combed back and pants pressed, is alone in an airport; it is his 3,753rd day in the abandoned and desolate space.
APR 2018 | ArtSeen
Rodriguez recognizes strategies of appropriating, representing, and reproducing pictures as necessary for a contemporary, feminist, critique of teleology and historiographical time.
DEC 18-JAN 19 | ArtSeen
How to introduce an artist? One may position them in a previously established historical canon, revise history by undoing hegemonic structures of forced invisibility, or isolate an “individual” practice that doesn’t conform to historical compartmentalization.
NOV 2017 | Art
I first saw Peter Scott’s work at the Emily Harvey Foundation in SoHo (April 2016), where his exhibition Picture City II addressed his major concerns: urbanism, the built environment, and mediatized representations of a changing New York.
DEC 17-JAN 18 | ArtSeen
In addition to Leonilson’s long-overdue re-recognition, the exhibition is especially appropriate given the many comparisons to be drawn between the present and the darker moments of the 1980s.