Jenni Sorkin

  • Howardena Pindell, Astronomy: Saturn, Neptune, 2006, ink, acrylic, and gouache on paper, 9 1/2 x 11 3/4".

    Howardena Pindell

    Howardena Pindell is an iconic figure: Well known for her sui generis paintings as well as for her feminist classic, the twelve-minute video Free, White, and 21 (1980)—which catalogues systemic racial hatred through the lens of personal experience—she was also a trailblazer, an art-world activist in her role as the first black curator at the Museum of Modern Art in New York, and as the only woman of color in the group of feminists who established Artists in Residence (A.I.R.) Gallery in New York in 1972. This long-overdue retrospective, organized by Naomi Beckwith and Valerie Cassel

  • Made in L.A. 2018

    This fourth edition of Made in L.A. promises a nonthematic tour of greater Los Angeles, with a heavy dose of artistic production that skews toward the political and the social. Curators Anne Ellegood and Erin Christovale have selected thirty-two artists in all, forming a group that is fully two-thirds women and includes midcareer stalwarts such as Linda Stark and Daniel Joseph Martinez alongside younger artists working in often-overlooked media, such as the weaver Diedrick Brackens. More than twenty years ago, Lucy R. Lippard published The Lure of

  • “Sheila Hicks: Life Lines”

    The American artist Sheila Hicks will finally have her first retrospective in Paris, her adopted home. A Nebraska native and a former student of Anni and Josef Albers, Hicks has created monumental fiber sculptures since the late 1950s. Early on, these works took the form of interior—design commissions for corporate and public spaces; later, she made a turn toward dimensional sculptural forms that drape and unfurl. As a peripatetic expatriate, Hicks produced site-specific sculptures and installations that explored indigenous weaving practices in Mexico, India,

  • Daniel R. Small, Excavation II, 2016–, mixed media. Installation view. Photo: Brian Forrest.

    Made in L.A.

    OVER THE FOUR YEARS of its existence, Made in L.A. has developed into a reliably exciting biennial—capitalizing on the city’s rapidly expanding coterie of local emerging and midcareer artists. But the biennial’s third edition, on view this past summer, broke with convention to highlight older artists with long-standing but relatively unknown practices rather than the bright young things who usually dominate such group shows. Curated by Aram Moshayedi and Hamza Walker, the show was titled “a, the, though, only”—the amorphous, somewhat confusing string of articles and conjunctions serving

  • Elaine Reichek, Desire/Dread/Despair, 2012, embroidery on linen, 26 1/4 × 26 3/4 × 1 1/4".

    Elaine Reichek

    Over the past forty years, Elaine Reichek has employed handworked and digitally stitched embroidery alongside photographic and printmaking techniques to comment upon the endless process of interpretation and the ways in which myths (both ancient and contemporary) shift, overlap, and intersect. Titled “Minoan Girls,” her recent exhibition was a complex pastiche of literary and art-historical citations. Reichek ruminated on the dark fates of the two daughters of Minos, King of Crete, splicing classical Greek myths and pairing the sisters with symbolic iconography. She deployed the motif of the

  • View of “Elmgreen & Dragset: Tomorrow,” 2013–14.
    picks December 22, 2013

    Elmgreen & Dragset

    The Nordic duo Elmgreen & Dragset are best known for their fanciful collusions of culture merged with representations of power, such as the mock storefront Marfa Prada, 2005, installed along the highway just outside the Donald Judd boomtown. In their current exhibition, “Tomorrow,” they have performed institutional critique with a light and achingly poetic touch: They’ve gone on a decorating spree in one of the world’s greatest decorative arts collections, the Victoria & Albert Museum, in order to create a period apartment of a fictional character, the forlorn and deeply closeted Norman Swann,