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Aesthetica Magazine - Rewriting the Canon

A new publication from Pompidou Centre realigns the history of abstract art with a focus on the vital, and often overlooked, contributions of women. ....

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The Strange Persistence of Religion in Contemporary Art

The Strange Persistence of Religion in Contemporary Art
imagejournal.org - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from imagejournal.org Daily Mail and Mail on Sunday newspapers.

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One of the Country's First Racially Integrated Fine Art Shows Gets an Overdue Update – Texas Monthly

One of the Country's First Racially Integrated Fine Art Shows Gets an Overdue Update – Texas Monthly
texasmonthly.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from texasmonthly.com Daily Mail and Mail on Sunday newspapers.

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From David Hammons, a Tribute to Pier 52 and Lastingness

From David Hammons, a Tribute to Pier 52 and Lastingness
Their artistic paths crossed like ships in the night. But at long last, two New York legends meet in “Day’s End,” an immortalizing homage by Hammons to Gordon Matta-Clark and art history.
“Day’s End,” David Hammons’s site-specific sculpture in Hudson River Park, reimagines the vanished Pier 52 as an open-air pavilion.Credit.Simbarashe Cha for The New York Times
May 13, 2021, 1:39 p.m. ET
In 2014, the director of the Whitney Museum of American Art, Adam D. Weinberg, invited the artist David Hammons to tour the museum’s still empty new building. Weinberg remembers them standing together at the panoramic fifth-floor window overlooking the Hudson and talking about the history of the waterfront facing the museum, about what was there and what was gone. ....

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Art Historian Darby English on Why the New Black Renaissance Might Actually Represent a Step Backwards

Recently, English shared with me his reflections on our current moment, how art has changed over the past several decades, and why generalizations of Black art are so problematic.
You are very keen on the problems of generalization within the art world with regards to how African American art is taught, critiqued, and discussed. What is your biggest problem with these generalizations? How, in your opinion, can historians work to remove and/or reduce their use of generalizing?
My issue with generalization is that it feels an irresponsible way to respond to art’s diversity and specificity. If you understand art as something different from yourself, as the work of another consciousness, then it is very hard to generalize about it. Art reflects the immense variation in the field of experience, offers us opportunities to explore and come to terms with that plenitude. Accounts of art that suppress variation, that are nonchalant about those precious opportunities, need to be re ....

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