Abigail Winograd

  • picks June 18, 2018

    Hank Willis Thomas

    A blonde woman standing on a beach, the sand and sea a blur behind her, stares at the camera. Her face is divided into a before-and-after image. On the left, her visage appears youthful, and the scene behind her is one of a happy family, complete with cheerful husband lifting a daughter into the air. On the right, the woman’s face is wizened, her hair dull and gray; the beach behind her is deserted. There’s no hiding from it, 1982/2015, 2015, is one of thirty-five works that make up “Hank Willis Thomas: Unbranded.” The exhibition brings together two related series: “Unbranded: Reflections on

  • picks March 19, 2018

    “Unthought Environments”

    Humans no longer merely stand on the proverbial brink of impending ecological disaster; we now sit squarely in the eye of an environmental storm raging at full tilt. Sea levels are rising, inundating low-lying communities. Floating garbage islands dot the oceans. Plastic, the primary component of these drifting trash heaps, has become so ubiquitous in the environment that all animals, including ourselves, now have trace amounts of it coursing through our veins. This unnerving reality is the backdrop but not the focus of “Unthought Environments,” an exhibition that looks at the links between the

  • picks March 08, 2018

    Mounira Al Solh

    It is a tradition in the Greek Dodecanese for nuptial beds to be covered by a sperveri, a bed-tent embroidered by female members of a bride’s family. Traditionally made from tapered pieces of cloth embellished with colored silk, they form part of a woman’s dowry. Following the wedding, they are disassembled and used to create a variety of domestic textiles and serve as a constant reminder of home. Sperveri, 2017, embroidered by the Lebanese Dutch artist Mounira Al Solh, is the centerpiece of her solo exhibition “I strongly believe in our right to be frivolous,” a trenchant meditation on the

  • the 31st São Paulo Bienal

    IN THEIR INTRODUCTION to the catalogue for this year’s São Paulo Bienal, the exhibition’s seven-member curatorial collective make a statement that is sure to arouse a measure of ambivalence, to say the least: “Beyond all scientific or economic arguments,” they write, “recognition of the power of faith and ritual to change normative responses runs throughout the 31st Bienal.” In making such an assertion concerning the power of faith, the collective, which consists of Galit Eilat, Nuria Enguita Mayo, Charles Esche, Pablo Lafuente, Luiza Proença, Oren Sagiv, and Benjamin Seroussi, is clearly informed