Escobar is known for his extended reflections on what it means to be an artist from Guatemala. By repurposing popular and commercial objects, he gives us an opportunity to rethink Guatemalan history and culture in a global context.
Unlike films, these works do not have any narrative, peak, or climax. Instead, they force viewers to take notice of the small, minute shifts of the quotidian life in these untouched natural zones and ecosystems.
What should I be afraid of? asks Ceija Stojka. Auschwitz is my overcoat, Bergen-Belsen my dress, and Ravensbrück my undershirt. Stojka, a survivor of the Porajmos, the Romani Holocaust, is remembered in a beautifully haunting exhibition at the Austrian Cultural Forum New York. This collection of artworks, videos, books, and ephemera underscores Stojkas profound message against hate and intolerance of all kinds while urging us to never forget her and the millions of Jews, Sinti-Roma peoples, and Slavs and their struggles.
The exhibition pamphlet for Anna-Eva Bergmans first major retrospective at the Musée dArt Moderne de Paris begins with a blunt, but necessary, assertion: Although celebrated and exhibited around the world in her lifetime, [Bergmans] work needs to be more widely reconsidered today. This ethos is carried through the entire exhibition, which spans eight galleries and features over two hundred works by the artist, rightfully securing her place as a major post-war artist.
In the eyes of the profound American artist Georgia OKeeffe (1887-1986), a single artwork cant always fully express the complexity of its subject: sometimes it takes a few tries. Up now at MoMA is a wonderful expansion of that idea in Georgia OKeeffe: To See Takes Time, featuring more than 120 works on paper spanning five decades of the pioneering artist's career.
At Esteban Jeffersons first exhibition with 303 Gallery, he has created a space that can serve as a site of education and contemplation for how monuments function, through the extent of the 2020 protests.