Cover image: Julia Scher, Vigilance, 1991. Photograph of exhibition. Image courtesy juliascher.com. Since the revelations of Edward Snowden in 2013, it has become impossible to avoid the… Continue Reading Art and Surveillance
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Few art events are as grassroots as SPRING/BREAK. Spread across two floors in a Midtown East office building, artist- and curator-assembled exhibitions bloom in otherwise… Continue Reading At SPRING/BREAK, Smartphones Become Sacred and Free Weights Grow Fur
The history of all hitherto existing society may well have been the history of class struggle, but this struggle has been pitched against a background… Continue Reading On Labor Day Hurricanes
A sidelong glance reveals as much as a direct gaze—which Hans Holbein the Younger humorously demonstrated in The Ambassadors (1533) by depicting a skull at… Continue Reading John Edmonds Gives Us Some Serious Side Eye
Alice Neel: People Come First, on view at the Metropolitan Museum of Art through August 1, 2021, could be an unexpectedly emotionally intense experience for… Continue Reading “Alice Neel: People Come First” at the Metropolitan Museum of Art
Eric Goh discusses how the pandemic motivated him to take a year off from his studies and start Mutual Aid Projects, a curator-run project space in Kuala Lampur. Continue Reading Eric Goh on Mutual Aid and Friendship as a Pathway Out of Disaster
Recently, the artist Tishan Hsu, who had largely retreated from public view since first emerging in the New York scene during the late 1980s, resurfaced in 2020. Continue Reading The works speak for themselves: Tishan Hsu at SculptureCenter
In "to a raven and the hurricanes which bring back smells of humans in love from unknown places," Petrit Halilaj’s vivid celebration of transcendent queer love takes on new resonance in the context of the global pandemic. Continue Reading On wingless birds and permeable cages: Petrit Halilaj at the Palacio de Cristal, Madrid
One of the major advantages of studying at the Institute of Fine Arts at NYU is that our school is situated in New York City.… Continue Reading Door to Manhattan: An Interview with Curator Kelly Baum
“The horror of looking is not necessarily in the image but in the story we provide to fill in what is left out of the image.” -Marianne Hirsch 
A recent survey conducted in February 2018 by the Conference on Jewish Material Claims Against Germany found that 49% of Millennials cannot name a single concentration camp or ghetto among the dozens that operated during the Holocaust. Just one month after the survey’s results became public, an exhibition of California-based artist Natalie Arnoldi titled This Happened Here opened at Charlotte Jackson Fine Art. Five large-scale paintings by Arnoldi, which were not for sale, went on view from March 9th – 31st at the gallery in the trendy Railyard District of Santa Fe, New Mexico. These five paintings offer one avenue through which contemporary art can minimize the distance between a contemporary public and a historical event like the Holocaust.
An obscure, grainy oil painting of railroad tracks descending into the bleak distance rendered in greys, whites, and blacks titled Helix (2012) functioned as the meaningful starting point of the exhibition. A few years ago, a woman visited the studio of artist Charles Arnoldi, Arnoldi’s father, where one of his daughter’s train track paintings was hanging. Upon viewing Arnoldi’s painting, the woman burst into tears. She explained that her grandmother was a survivor of Auschwitz-Birkenau and that the work had reminded her of her grandmother’s arrival to the camp. Her reaction is a potent reminder that art does not exist in a vacuum. It is also a profoundly interesting example of the power of post-memory.