Shu Lea Cheang

Shu Lea Cheang on intangible prisons at the 58th Venice Biennale’s Taiwan Pavilion

WEIRD SISTERS

Ivana Bago on Sanja Ivekovic’s Whether We Were Brave

ART’S UPRISINGS: ACTIVISM NOW

SIT AT THE FEET OF ACTION

RISE TO THE OCCASION

Claire Bishop on the art of political timing

previews

“CAULEEN SMITH: WE ALREADY HAVE WHAT WE NEED”

Massachusetts Museum of Contemporary Art (MASS MoCA)
North Adams

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print reviews

Carol Rama

Lévy Gorvy | New York
New York

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critics' picks

Horia Damian

Galeria Plan B | Berlin
Berlin

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must see

New York

Philip Vanderhyden on curating Gretchen Bender and his work with computer graphics software

New York–based artist Philip Vanderhyden talks about curating and reconstructing the work of Gretchen Bender (1951–2004) for shows at the Poor Farm in Waupaca County, Wisconsin (2012); The Kitchen in New York (2013); and the 2014 Whitney Biennial. He also discusses his work for FRONT International: Cleveland Triennial for Contemporary Art (2018) and his collaboration with artist and musician Stuart Argabright for a forthcoming event at Brooklyn’s ISSUE Project Room, which is copresented with Red Bull Arts New York.

PRINT Summer 2016

THE IDENTITY ARTIST AND THE IDENTITY CRITIC

Hannah Black

THE PHRASE IDENTITY POLITICS is hard to approach directly because it is often put to use in contradictory ways. One is the really existing identity politics of, for example, the Hillary Clinton campaign. We are encouraged to vote for Clinton simply because she is a woman, as the writer Sydette Harry described in a 2015 essay for the New Inquiry: “The prospect of a woman presidential candidate is depoliticized into an overdue payment . . . something seen in 2008 as a sign of moral weakness in Black voters [i.e., voting for Obama because he is black] is considered a feminist rallying cry in white