Rhea Anastas

  • Beverly Buchanan

    BEVERLY BUCHANAN was born in 1940 in North Carolina and created artwork of singular scale, force, and emotion. From her earliest series, for which she responded to the deteriorating urban environments of New York and New Jersey in the 1970s, to her later works, which intertwine with oral history to excavate African American social life in rural communities of the American Southeast, Buchanan undertook a deep, empirically driven study of architecture in visual art. With her work, the artist asked crucial questions: She attempted to see inside architecture and through it, and to reveal it as

  • “Revolution in the Making” at Hauser Wirth & Schimmel

    HAUSER WIRTH & SCHIMMEL’S first Los Angeles exhibition builds off of two rolling, wavelike ideas. The first traces a tradition of expressiveness, materiality, and the handmade in what the curators call the “studio-based” practice of twentieth- and twenty-first-century sculpture. The second nests these ideas about abstraction and the sculptural in an emphatically feminist argument, one that asserts that the production, display, and reception of such art has been shaped by the personhood of the artists who tended to practice it, and by the sexist social and institutional conditions those individuals

  • Andrea Fraser

    The fact that Andrea Fraser has been working for thirty years might suggest that her efforts are easily categorizable, their sociocultural points of reference known. But this is not the case: Fraser’s unfinished work of feminism is structured by sharp (and humorous, and moving) undoings of critical distance, the symbolic, and the embodied. To be among the audience of a performance like Official Welcome, 2001/2003, or Men on the Line, 2012/ 2013, is to encounter culture’s knot of languages, desires, identities, and competencies in all its complexity.

  • Andrea Fraser

    WITH HER 2003 PROJECT UNTITLED, Andrea Fraser throws us an archetype of sexual and cultural identity. More than in her other performances, Fraser here works without the protection of a research-based script, a surrogate actor, or the remove that often characterizes analytical thinking. The central action in Untitled has Fraser and a male client of her US gallery meet for a session of sex and video recording in a New York hotel room. This is the part of the work that suggests an archetypal narrative. And yet despite all that has been said about this project as sexual fantasy, feminist act, or