October 2018 Blog Posts

Soul of a Nation: Art in the Age of Black Power shines light on a broad spectrum of Black artistic practice from 1963 to 1983, one of the most politically, socially, and aesthetically revolutionary periods in American history.
A dynamic new look at the world-renowned Asian art collection at the Princeton University Art Museum has been made possible through a $150,000 grant from the Institute of Museum and Library Services (IMLS). The two-year project, which began in 2016, is a part of the Museum’s ongoing Collections Discovery Initiative and was designed to ensure that Princeton’s Asian art collection – widely considered among the premier collections of Asian art in the United States – can be shared with the broadest possible audiences, especially with scholars and researchers.
In a major survey encompassing over six decades of work, New York’s Pace Gallery is celebrating multi-media innovator Robert Whitman. 61 contains over thirty works, from 1957 through 2018.
With his homeland at the precipice of civil war, Joan Miró was experiencing an existential crisis. What did it mean to be a Spaniard in a country increasingly defined by division?
Carrie Mae Weems challenges stereotypes about race and gender in powerful works of photography, video, and performance that blend the personal and the political. Hear her talk about her place in a changing world.
Michele Pred’s latest show at Nancy Hoffman Gallery is part exhibition, part directive. VOTE FEMINIST is as much a collection of works by the conceptual performance artist as it is a call to action.
Drawing inspiration from classical sculpture and the study of the live model, Renaissance artists made the nude central to their art, creating lifelike, vibrant, and varied representations of the human body. This transformative moment is one that would shape the course of European art history and resonate through the present day.
French-Tunisian artist eL Seed released his first book project, Perception, earlier this month. The book, in limited edition of 500, is both an accompaniment to and documentation of the artist’s extraordinary mural by the same name, which stretches across fifty buildings in Cairo. Displaying the words of Saint Athanasius of Alexandria, a Coptic Bishop from the Third Century: ‘Anyone who wants to see the sunlight clearly needs to wipe his eyes first,’ the project employs the artist’s signature style, “calligraffiti,” which incorporates the visual culture of traditional Arab calligraphy into contemporary, often politically charged, street art.
Take a behind-the-scenes look at the conservation of Nam June Paik’s "Fin de Siècle II," a dramatic work in the Whitney's permanent collection. For the first time since 1989, see this monumental work on view at the Whitney in "Programmed: Rules, Codes, and Choreographies in Art, 1965–2018."
Mario García Torres (Mexico, b. 1975) is one of the most compelling and inventive conceptual artists living today. Illusion Brought Me Here is the first US survey to focus on García Torres’s practice.