When Cynthia Carr, then an arts columnist for the Village Voice, congratulated David Wojnarowicz on his inclusion in the 1985 Whitney Biennial, he told her he hated the art world. “And then,” Carr writes in her definitive biography Fire in the Belly: The Life and Times of David Wojnarowicz, “I believe the exact sentence went: ‘If I were straight, I’d move to a small town right now and get a job in a gas station.’”
Heather Dewey-Hagborg imagines a not-so-distant future in which police sketches are made using current DNA technology, and Paolo Cirio promotes activism with transmedia storytelling.
Curator Carolyn Christov-Bakargiev explores the idea of the postwar in an exhibition of two hundred artists spanning four thousand years of work.
This week the Whitney unveils There’s So Much I Want to Say About You, a showcase by New York-based artist Sharon Hayes that devotes the museum’s entire third floor to her pieces about political protest in the twentieth century.
A new generation continues a designer’s legacy for simple, sustainable ideas that serve the real needs of the people.
Non-profit Word Above the Street has launched a Kickstarter Campaign for the Water Tank Project, in which an impressive roster of artists and celebrities will create designs to cover water towers across New York City.
In 2008, Maarten Vanden Eynde was shocked to discover that there is a “floating landfill,” about the size of the continental United States, made up of tiny plastic particles about 1,000 miles west of California and 1,000 miles north of Hawaii.
With its commanding presence and message of peace and unity, Ilya and Emilia Kabakov‘s Ship of Tolerance stands out amidst the other artworks at the eleventh annual Havana Biennial, which opened last month.
Once a heavily industrial area, Long Island City has been experiencing rapid change over the past few years. As many formerly commercial neighborhoods are being rezoned as residential, community activists and developers are at odds as to the best way to reinvigorate the area. Among the most contested issues is the development of the waterfront, which is both a vital public space and plum property for high-rise residential construction.
Creative Time’s Living as Form exhibition in New York opened up a dialogue that is now being taken to a global scale. Living as Form (The Nomadic Version) is co-organized by Creative Time, Independent Curators International, and art venues around the world. Its first stop is curated by Christina Linden at the San Francisco branch of Kadist, an art foundation that is also based in Paris.