Reviews

Pete Schulte’s “The Lamplighter” is a shockingly diverse exhibition that, at a casual glance, appears to be anything but. Even though it fills the three separate venues of  the Whitespace/Whitespec/Shedspace complex and includes a sound art installation, the dominant medium is graphite on paper, and the dominant style is geometric. Thee main gallery space indicates…

Print Friendly, PDF & Email

The racial category and social position constructed as whiteness operates through a set of unmarked and unnamed cultural practices that are designed and enforced to privilege its members. The art museum, with its rooms full of objects negotiating and guiding our tastes, values, and assumptions in space and time, is one of the most visible…

Print Friendly, PDF & Email

Institutional critique looms large over contemporary art. In a moment when power is being held to account and representation matters, recent interventions into the formal, conceptual, and systemic workings of the art institution by artists and activist communities remind us of the urgent necessity of this practice. However, among the protests and hashtags for change…

Print Friendly, PDF & Email

As an artist and social activist, Carrie Mae Weems’s consistently evokes an intensity and intimacy through photography, film, and written narrative. Weems, a MacArthur fellow and the first African-American woman to have a solo exhibition in the Guggenheim, refuses to condone any kind of glossed-over version of United States history, and in her work asks…

Print Friendly, PDF & Email
Print Friendly, PDF & Email