Disturbing the View at the Whitney is an ongoing performance throughout the summer by New York-based artist Dave McKenzie. McKenzie activates the museums many floor-to-ceiling windows by using window-washing instruments to repeatedly, and rhythmically, apply a chalky substance. This action indeed disturbs the view to the museums many stunning vistas overlooking Lower Manhattan.
Maddie Klett speaks with Tomashi Jackson about her love of printmaking, her collaborative methodology as a social historian, and how cares her artwork into existence.
Sia’s ontological approach to the glocal (although she never mentions the term in the showmaybe it died out in the early aughts?), spectacle, and landscape at/from/through her home of Hong Kong recalls this same a-historical, locality-driven condition.
Nicole Eisenman and Keith Boadwee is an unexpected pairing and exhibition format. There is a lot of work on view. As a result, there are many opportunities to find both affinities and issues with whats therea quality that straddles both artists practices and that recalls the troubling, yet self-aware, late figurative work of Philip Guston.
In theorist and historian Partha Chatterjee’s 1991 essay “Whose Imagined Community?”, Chatterjee challenges Benedict Anderson’s argument made in his book, Imagined Communities, that politicians in Africa and Asia selected their post-liberation national forms from existing models in the United States, Western Europe, and Russia.1 Chatterjee responds: if postcolonial nations are restricted to these models, then what is left for them to imagine? The late Congolese artist Bodys Isek Kingelez’s works can provide an answer to Chatterjee’s question.
As Everybody includes works Laguna has made over the past 10 years; her handwritten notes enable the whole exhibition to feel cohesive and particular to its Richmond localesomething I appreciate at a time when seeing art in person is a rarity.
In the cavernous front gallery of the CCA Wattis Institute for Contemporary Arts in San Francisco, Abbas Akhavan has reconstructed the eerie scene of the National Museum of Iraqs lobby after its looting following the American invasion of the country in 2003.
Despite living at the center of tech development and corporatization, Jacobsen gravitates towards untrendy, outdated means of production—copy stores and drugstore photo counters.
Ramirez Jonass artwork and essay shape this exhibitionary exploration of loss—how artists reckon with it, or even attempt to restore or repair it.