Julie Mehretu
Until 8 August at the Whitney Museum of American Art, 99 Gansevoort Street, Manhattan
Julie Mehretu’s massive mid-career survey which has travelled from the Los Angeles County Museum of Art includes more than 70 paintings and works on paper that date from 1996 to today. It offers a chance for viewers to track the progression of Mehretu’s style from early pieces that focus more heavily on mapping and drawing to her sprawling abstractions with innumerable layers of visual information. Some of the most recent works on view also smartly deal with contemporary social issues, as the process begins with photographs one started with police in riot gear following the killing of Michael Brown, for example, while another began with images of climate change-related firescapes. These images are then blurred and erased beyond recognition before paint and other materials are stacked on, and are then sanded and erased, creating a pentimento surface where older layers peer through
Art:LIVE in Collaboration with Deutsche Bank
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Dia 2 0: Facing the future
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Dia 2.0: Facing the Future
Jessica Morgan moves the art foundation beyond the sometimes swaggering heart of its Minimalist collection.
Dan Flavin, “the diagonal of May 25, 1963 (to Constantin Brancusi),” a fluorescent light work at the newly renovated Dia Chelsea.Credit.Stephen Flavin/Artists Rights Society (ARS), New York; Elizabeth Felicella
April 23, 2021, 5:00 a.m. ET
In 1988, the Dia Art Foundation hosted one of the most momentous readings in postwar art history the reclusive poet James Schuyler appeared before an audience for the first time in memory, occasioning a line down Mercer Street to the foundation’s SoHo headquarters. One particularly lovely turn in Schuyler’s poem “Empathy and New Year” elicited a hum of admiration from the crowd: “Not knowing a name for something proves nothing.”