“Americas Society presents Bispo do Rosario: All Existing Materials on Earth, the first solo exhibition in the United States of Afro-Brazilian artist Arthur Bispo do Rosario (b. 1909, Japaratuba, Brazil, d. 1989, Rio de Janeiro)—known as ‘Bispo.’ During his career, Bispo created more than 1,000 artwork objects from Colônia Juliano Moreira, a psychiatric institution in Rio de Janeiro where he lived most of his life.
Bispo do Rosario was born in Japaratuba, Brazil in 1909. A descendant of slaves, he spent his youth working as a servant and a housekeeper and later served in the Brazilian navy, which discharged him for insubordination. In 1938, Bispo had a series of hallucinations that made him believe he had been sent by God on a mission to recreate the universe. After he was diagnosed with schizophrenic paranoia, he was arrested and sent to the Colônia Juliano Moreira psychiatric institution in Rio de Janeiro, where he spent the rest of his life. Much of his work reflects the African folk arts of his native region and his Christian faith.
Bispo do Rosario: All Existing Materials on Earth compiles Bispo do Rosario’s iconic artworks, which include hand-embroidered textiles with attached elements, mixed-media sculptures, and his ‘Annunciation Garment,’ his best-known artwork, which he intended to wear on Judgment Day.” — Americas Society
Untitled [Manto da apresentação (Annunciation garment)], n.d. Fabric, thread, ink, found materials, fiber. 46 5⁄8 × 55 5⁄8 × 2 ¾ inches Above: front view. × 141.2 × 7 cm). Photo: Rafael Adorjan
Untitled [Eu vi Cristo (I saw Christ)], n.d. Fabric, thread, plastic, metal, ink, found materials. 30 × 25 ½ × ¾ inches (76 × 65 × 2 cm). Photo: Rafael Adorjan
Untitled [Asdrubal de Moraes], n.d. Fabric, paper, thread. 24 3⁄8 × 16 ½ × ¾ inches (62 × 42 × 2 cm). Photo: Rafael Adorjan
“His commitment to his craft was the result of a mandate, an offering, and a mission to replicate, catalogue, and organize the world around him,” said the exhibition curatorial team. “His endless activity helped him to survive the hardships of many years of psychiatric institutionalization.”
Exhibition was co-curated by Aimé Iglesias Lukin, Ricardo Resende, and Javier Téllez, with Tie Jojima, the exhibition is organized in collaboration with the Museu Bispo do Rosario Arte Contemporânea in Rio de Janeiro.
“The International Center of Photography will present a new exhibition spanning seven decades—from the 1910s to the 1970s—focusing on how photographers portray their friends. On view from January 27 through May 1, 2023, Between Friends: From the ICP Collection offers viewers intimate moments of collaboration between artists and their friends—in snapshots, casual studio portraits, and going about their everyday lives.
The exhibition features portraits of artists and writers such as Leonard Bernstein, Truman Capote, Helen Frankenthaler, Georgia O’Keefe, and Saul Steinberg by well-known photographers and artists including Ansel Adams, Berenice Abbott, Henri Cartier-Bresson, Alfred Stieglitz and Andy Warhol. Between Friends also calls attention to many women photographers from ICP’s collection, including Nell Dorr, Lotte Jacobi, Consuelo Kanaga, and Barbara Morgan. Between Friends continues a new series drawn from ICP’s collection of photographs and related materials. The exhibition is curated by Sara Ickow, Senior Manager of Exhibitions and Collections at ICP.” — ICP
“The stories behind these images are poignant, funny, sad or uplifting,” notes Sara Ickow about the exhibition. “The images bring to light friendships and connections between artists that were long forgotten and document the importance of friendships to the creative process and an artist’s legacy.”
Barbara Morgan, Berenice Abbott with Cat, 1942. Gift of Mr. and Mrs. David C. Ruttenberg, 1986 (543.1986). Courtesy the Barbara and Willard Morgan photographs and papers, Library Special Collections, Charles E. Young Research Library, UCLA
“Creating an atmosphere of conversations held just beyond the frame of the images, Face to Face features more than 50 photographs by Brigitte Lacombe and Catherine Opie, and two films by Tacita Dean, with bracing, intimate, and resonant portraits of compelling cultural figures including Maya Angelou, Richard Avedon, Louise Bourgeois, Joan Didion, David Hockney, Miranda July, Rick Owens, Martin Scorsese, Patti Smith, Mickalene Thomas, Kara Walker, and John Waters, among others. The exhibition presents some of the often-overlapping subjects immortalized by Dean, Lacombe, and Opie and investigates the charged genre of portraiture, one that often carries a sense of intimacy and exposure simultaneously.” — ICP
“These pictures and films offer us formality and intimacy, patience and curiosity, and the thrill of an unguarded moment,” said curator Helen Molesworth. “I see all three artists involved in making pictures that are not only in dialogue with their given subjects, but also with the history of the genre of portraiture and the medium of photography. Art is many things, but for artists it is a way of talking to each other through pictures. It’s a transhistorical game of stealing and borrowing techniques, paying homage to one another’s triumphs—a constant call and response.”
Face to Face: Portraits of Artists by Tacita Dean, Brigitte Lacombe and Catherine Opie is organized by renowned writer and curator Helen Molesworth. It will be accompanied by a fully illustrated catalogue published by ICP and MACK, London, with essays by Molesworth and writer and curator Jarrett Earnest.
Images courtesy International Center of Photography.
“Organized by El Museo del Barrio and curated by invited guest curator Olga Viso in collaboration with El Museo curator Susanna V. Temkin, Juan Francisco Elso: Por América investigates the brief yet significant career of the late Cuban artist Juan Francisco Elso (1956-1988). Based in Havana, Elso was part of the first generation of artists born and educated in post-revolutionary Cuba, who gained international recognition in the early 1980s.
Created mostly using natural, organic materials, his sculptural practice examines the complex formations of contemporary Cuban, Caribbean, and Latin American identities, as inflected by the cultural influences of Indigenous traditions, Afro-Caribbean religious beliefs, as well as the traumas of colonial oppression. Elso’s commitment to such histories – which relate to El Museo del Barrio’s own foundational ethos – presage current post- and decolonial perspectives. The exhibition examines such legacies and parallels by placing Elso’s prescient work alongside a multigenerational group of artists active in the Caribbean, and throughout North, South, and Central America.” — El Museo del Barrio
Juan Francisco Elso, Por América (José Martí), 1986, wood, plaster, earth, pigment, synthetic hair, and glass eyes, 56.75 x 17.25 x 18.25 in. Photo/ Ron Amstutz Hirshhorn Museum and Sculpture Garden.
Juan Francisco Elso, Install of La ceiba y La palma, 1983, screenprint mounted on cardboard and wood, 86.625 x 59 x 27.2 in and 96 x 40 x 30.75 in.
Juan Francisco Elso, Tierra, maiz, y vida series, 1983, graphite on paper, pencil on paper, or mixed media on cardboard, various measurements.
Juan Francisco Elso, Pajaro que vuela sobre America, 1985, carved wood, branches, wax, jute thread, and basket elements, 70.875 x 153.5 x 6 in.
Juan Francisco Elso, La Fuerza del Guerrero, 1986, carved wood, plaster, wooden rods, and colored cloth, 65 x 63 x 63 in.
Juan Francisco Elso Installation View of Essay on America Gallery.
Juan Francisco Elso Installation View of Transparency of God gallery through Juan Francisco Elso’s El Rostro de Dios, 1987-1988.
Juan Francisco Elso Installation view of Juan Francisco Elso’s Corazón de América c.1987-1988 and a reproduction of La mano Creadora, 1987-1988.
Juan Francisco Elso, Caballo contra colibri [Horse against Hummingbird], 1988, wood, paper, twigs, jute, wax, volcanic sand, earth, and iron, 96 x 156 x 13 in.
Juan Francisco Elso with Caballo contra colibri. Photo/ Christina Lobeira.
“Presented through a contextual rather than monographic approach, Juan Francisco Elso: Por América is organized into several, interrelated thematic sections that explore vital crosscurrents between Elso’s art and the creative output of both close colleagues and others who, despite having not known him, demonstrate parallel affinities. Featuring 45 works by more than 30 artists, the exhibition includes Belkis Ayón, Luis Camnitzer, Glenn Ligon, Ana Mendieta, and Michael Richards, as well as new commissions by Tiona Nekkia McClodden and Reynier Leyva Novo.” — El Museo del Barrio
“The exhibition is part of a broader investigation undertaken by Fondazione Prada since 2015, when it simultaneously presented ‘Serial Classic’ and ‘Portable Classic’ in its Milan and Venice spaces, two exhibitions curated by Salvatore Settis (with Anna Anguissola in Milan, and Davide Gasparotto in Venice) and designed by Rem Koolhaas/OMA. The underlying premise of this research is the need to think of the classical not simply as a legacy of the past, but also as a vital element with the power to affect our present and future. Such themes as seriality, reuse, and recycling in art are closely linked to our conception of modernity, but they also attest to the extraordinary persistence of certain classical values, categories, and models. Through an innovative interpretive approach and experimental exhibition formats, ancient heritage—in particular Greco-Roman heritage—becomes, in Settis’ words, ‘a key that provides access to the multiplicity of cultures in the contemporary world’.” — Fondazione Prada
As Salvatore Settis explains, “Reuse entails the coexistence of different temporalities, in which historical distance and narrative and emotional simultaneity are continually intertwined. The ancient Roman marbles belong to the same cultural horizon as those who reuse them, therefore appropriating them is felt to be natural. But the dimension of time evades the sequence of the calendar: it is unstable and can be manipulated and bent […]. Why take from ruins a relief, a vase, a capital? Why carry it somewhere else to insert it into a new context? The answers explored in recent decades go in three complementary directions: reuse can have a value that is either memorial (aimed at the past), foundational (directed towards the present), or predictive (oriented towards the future). Without documents it is often difficult to decide which of these intents prevailed from one case to the next; it is certainly possible that they were present simultaneously. […] The heart and spur of the act of reuse is often, or maybe always, ‘to insert the past into the future,’ as German historian Reinhart Koselleck contends to foresee or determine its development. The new context absorbs what it reuses, but it must (and wants to) leave it recognizable even while (or rather, precisely because) it takes possession of it.”
Exhibition views of “Recycling Beauty” at Fondazione Prada, Milan. Photos: Roberto Marossi. Images courtesy Fondazione Prada.
“Recycling Beauty” was curated by Salvatore Settis and Anna Anguissola with Denise La Monica, and was designed by Rem Koolhaas/OMA, together with Giulio Margheri.
“In celebration of an exceptional gift of drawings by one of Italy’s leading contemporary artists, the Philadelphia Museum of Art presents a major exhibition examining the poetic vision of Giuseppe Penone, whose artistic production from the late 1960s to the present invites a timely rumination on the relationship between human experience and nature. River of Forms: Giuseppe Penone’s Drawings demonstrates the centrality of drawing in the artist’s work through a selection from the important gift and related sculptures. The exhibition conveys Penone’s extraordinary range of mark-making techniques and traces his explorations of drawing as an interface between artist and nature.“ — Philadelphia Museum of Art
The artist commented: “At the foundation of every single work of art the fascination and wonder that the world and its matter provoke is always felt. It is that fascination that the work, even a simple drawing, can evoke through its signs, its colors. This thought makes me believe and hope that the public will be able to share and appreciate my work, which I hope will manage to convey a sense of participation and belonging. A drawing is both the tracing of a person’s hand, and it is the imprint of a thought. This group of drawings is a journey through the ideas that have nourished my work, and my hope is that the public will be able to feel and to share this energy.”
“Project for Mirroring Contact Lenses—Looking at the Road (Progetto per lenti a contatto specchianti—Guardare la strada),” 1970, by Giuseppe Penone. Blue biro on paper, 13 x 7 1/8 inches (32.9 x 18.1 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
“Project for Projection, Plaster cast, Slides (Progetto per proiettore, calco di gesso, diapositiva),” 1972, by Giuseppe Penone. Hair and pastel on paper, 17 1/16 x 26 5/16 inches (43.3 x 66.8 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
Breaths, 1977, by Giuseppe Penone. Pencil and watercolor on paper. 10 x 14 3/8 inches. Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
“Untitled (Senza titolo),” 1982, by Giuseppe Penone. Synthetic polymer paint, spray-applied, and graphite on wove paper, 22 5/16 x 30 3/8 inches (56.7 x 77.2 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
“Project for Hand on Earth (Progetto per Mano di terra),” 1988, by Giuseppe Penone. India ink on paper treated with turpentine, 19 7/8 x 27 9/16 inches (50.5 x 70 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
“Vegetal Gaze (Sguardo vegetale),” 1991, by Giuseppe Penone. Pencil and ink on paper, 14 1/2 x 10 9/16 inches (36.8 x 26.8 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
River of Forms: Giuseppe Penone’s Drawings at Philadelphia Museum of Art was curated by Carlos Basualdo, Keith L. and Katherine Sachs Senior Curator of Contemporary Art, with Lara Demori, Ph.D., Research Associate.
“One of the most celebrated contemporary German artists, Georg Baselitz (b. 1938) gained international recognition in the 1960s for revitalizing figurative painting. This exhibition celebrates the gift from Baselitz to the Morgan of fifty drawings covering the span of his entire career. On display are examples from the iconic Heroes series and fractured drawings of the mid-1960s; landscape and figure drawings from the 1970s, when Baselitz began turning his images upside-down to emphasize their structure and materiality over their subject; colorful pastels and watercolors from the 1980s and 90s; and a group of Remix drawings from the last twenty years, in which Baselitz revisits themes from his early works. Organized in collaboration with the Albertina Museum in Vienna, which is the recipient of a similar gift from the artist, the exhibition includes about sixty-five drawings. Combining sheets from both donations, it presents a retrospective of Baselitz’s artistic development and highlight the central role drawing plays in his practice.” — The Morgan Library & Museum
“We were thrilled – and honored – to be chosen as the beneficiary of this exceptional group of drawings, and to be able to make the choice in concert with our colleagues from the Albertina in Vienna to add this to the Morgan’s collection. This large and diverse selection of Georg Baselitz drawings represents a major acquisition for the Morgan, which over the last twenty years has expanded its collection to include significant examples of twentieth and twenty-first-century drawing,” said Colin B. Bailey, Director of the Morgan Library & Museum.
Organized in collaboration with the Albertina Museum in Vienna, which is the recipient of a similar gift from the artist, Georg Baselitz: Six Decades of Drawings is curated by Isabelle Dervaux, Acquavella Curator and Department Head, Modern and Contemporary Drawings. The curator of the exhibition at the Albertina is Antonia Hoerschelmann, Curator of Modern and Contemporary Art.
“New-York Historical Society presents ‘I’ll Have What She’s Having’: The Jewish Deli, a fascinating exploration of the rich history of the Jewish immigrant experience that made the delicatessen so integral to New York culture. On view November 11, 2022 – April 2, 2023, the exhibition, organized by the Skirball Cultural Center in Los Angeles, where it is on view through September 18, examines how Jewish immigrants, mostly from Central and Eastern Europe, imported and adapted traditions to create a cuisine that became a cornerstone of popular culture with worldwide influence. The exhibition explores the food of immigrants; the heyday of the deli in the interwar period; delis in the New York Theater District; stories of Holocaust survivors and war refugees who found community in delis; the shifting and shrinking landscapes of delis across the country; and delis in popular culture. On display are neon signs, menus, advertisements, and deli workers’ uniforms alongside film clips and video documentaries. New-York Historical’s expanded presentation includes additional artwork, artifacts, photographs of local establishments, and objects from deli owners, as well as costumes from The Marvelous Mrs. Maisel, a mouthwatering interactive, and a Bloomberg Connects audio tour.” — New-York Historical Society
“Whether you grew up eating matzoball soup or are learning about lox for the first time, this exhibition demonstrates how Jewish food became a cultural touchstone, familiar to Americans across ethnic backgrounds,” said co-curators Cate Thurston and Laura Mart. “This exhibition reveals facets of the lives of Central and Eastern European Jewish immigrants in the late 19th and early 20th centuries that echo in contemporary immigrant experiences. It shows how people adapt and transform their own cultural traditions over time, resulting in a living style of cooking, eating, and sharing community that is at once deeply rooted in their own heritage and continuously changing.”
James Reuel Smith (1852–1935.) Louis Klepper Confectionary and Sausage Manufacturers, 45 E. Houston Street, c. 1900. Patricia D. Klingenstein Library, New-York Historical Society. Courtesy New-York Historical Society.
Installation view of “I’ll Have What She’s Having” at New-York Historical Society. Photo: Corrado Serra.
Hester Street, Lower East Side, c. 1900. Postcard. Patricia D. Klingenstein Library, New-York Historical Society. Courtesy New-York Historical Society.
Installation view of “I’ll Have What She’s Having” at New-York Historical Society. Photo : Corrado Serra.
Installation view of “I’ll Have What She’s Having” at New-York Historical Society. Photo: Corrado Serra.
Snack at Manny’s Delicatessen, Chicago, IL, 2010. Image Professionals GmbH / Alamy Stock Photo. Courtesy New-York Historical Society.
Installation view of “I’ll Have What She’s Having” at New-York Historical Society. Photo: Corrado Serra.
Installation view of “I’ll Have What She’s Having” at New-York Historical Society. Photo: Corrado Serra.
Installation view of “I’ll Have What She’s Having” at New-York Historical Society. Photo: Corrado Serra.
Carnegie Deli, New York, NY, 2008. Photo by Ei Katsumata /Alamy Stock Photo. Courtesy New-York Historical Society.
“I’ll Have What She’s Having” is co-curated by Skirball curators Cate Thurston and Laura Mart along with Lara Rabinovitch. It was coordinated at New-York Historical by Cristian Petru Panaite with Marilyn Kushner, curator and head, Department of Prints, Photographs, and Architectural Collections.
“The Museum of Modern Art presents Guillermo del Toro: Crafting Pinocchio, an exhibition devoted to the craft and process behind the celebrated filmmaker’s first stop-motion animation film. On view in the second-floor Paul J. Sachs Galleries and in the Debra and Leon Black Family Film Center, the exhibition will provide visitors with a behind-the-scenes look at the creative process to realize del Toro’s latest film, Guillermo del Toro’s Pinocchio (2022). Guillermo del Toro: Crafting Pinocchio will invite visitors to explore the collaborative craft of stop-motion animation filmmaking, from look development to the years-long production process, through a presentation of five full working sets and four large set pieces, alongside puppets and marionettes, maquettes, sculptural molds, drawings, development materials, time-lapse and motion-test videos, digital color tests, archival photography, and props from the film.” — MoMA
“With Guillermo del Toro’s Pinocchio, we had the unique opportunity to organize an exhibition during the active production of a feature film by one of this generation’s most important filmmakers,” says curator Ron Magliozzi. “The chance to observe firsthand how Guillermo and fellow director Mark Gustafson engaged with the craftspeople and artists on their team inspired our selection and installation of the works on display.”
Guillermo del Toro on the set of Guillermo del Toro’s Pinocchio, 2022. Image courtesy Jason Schmidt/Netflix
MoMA will screen Guillermo del Toro’s Pinocchio on select days between December 3 and 11, along with a theatrical run from December 26 through January 4; present a complete retrospective film series called Guillermo del Toro: Tales of Mourning and Imagination, from January 4 through 29; and host a Carte Blanche film series, curated by the director, in March 2023, all in the Roy and Niuta Titus Theaters.
Guillermo del Toro: Crafting Pinocchio was organized by Ron Magliozzi, Curator, and Brittany Shaw, Curatorial Assistant, with Kyla Gordon, Research Assistant, Department of Film.
“From haute couture designs to stage costumes, photographs, films, and unpublished archives, Thierry Mugler: Couturissime is the first retrospective to explore the fascinating, edgy universe of French designer and creator of iconic perfumes Thierry Mugler. Organized by the Montreal Museum of Fine Arts, Thierry Mugler: Couturissime has been adapted for the Brooklyn Museum by Thierry-Maxime Loriot, curator of the exhibition, and Matthew Yokobosky, Senior Curator of Fashion and Material Culture, Brooklyn Museum. Showcasing over 100 outfits, most on view for the first time, the exhibition also includes accessories, videos, photographs, sketches, and a special gallery dedicated to fragrances. Already seen by more than one million visitors in Canada, Germany, the Netherlands, and France since its launch in 2019, the exhibition concludes its tour in Brooklyn.” — Brooklyn Museum
“The constant innovations, inventions, and avant-garde architectural silhouettes in the work of Mugler have marked an era,” says Thierry-Maxime Loriot, curator of the exhibition. “His singular style found a place in the history of fashion that still has a powerful influence on today’s generation of couturiers, not only because of its designs, but also because of the strong message of inclusivity, diversity, and empowerment in his body of work. To present the exhibition I created with him, in the city he lived in and loved so much, is the most beautiful tribute to celebrate the man and the artist’s legacy.”
Installation views of Thierry Mugler: Couturissime at Brooklyn Museum, November 18, 2022 – May 7, 2023. Photos courtesy Brooklyn Museum.
“The Whitney Museum of American Art’s exhibition no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria brings together over fifty works by an intergenerational group of twenty artists from Puerto Rico and the diaspora whose art has responded to the transformation brought on by Hurricane Maria—a high-end category four storm that hit Puerto Rico on September 20, 2017. Organized to coincide with the fifth anniversary of the storm, the exhibition is defined by the larger context in which the devastation was exacerbated by historic events that preceded and followed this defining moment. The first scholarly survey of contemporary Puerto Rican art presented by a major U.S. museum in nearly half a century, the exhibition is organized by Marcela Guerrero, Jennifer Rubio Associate Curator, with Angelica Arbelaez, Rubio Butterfield Family Fellow, and Sofía Silva, former Curatorial & Education Fellow in US Latinx Art, Whitney Museum. no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria will be on view from November 23, 2022, through April 23, 2023.
The exhibition takes its title, no existe un mundo poshuracán, roughly translated as ‘a post-hurricane world doesn’t exist,’ from a poem by Puerto Rican poet Raquel Salas Rivera, featured in the exhibition as an artwork. Through painting, video, installation, performance, poetry, and newly commissioned works created for the show, the exhibition looks at the five years since Hurricane Maria to highlight urgent and resonant concerns in Puerto Rico, including the trauma created by fractured infrastructures; the devastation of ecological histories and landscapes; loss, reflection, and grieving; resistance and protest; and an economically-driven migration of Puerto Ricans to the United States during an upswell of American tourism and relocation to the island.” — Whitney Museum of American Art
Rogelio Báez Vega, Paraíso Móvil, 2019. Oil on canvas, 55 × 70 in. (139.7 × 177.8 cm). Private collection
Sofía Córdova, still from dawn_chorus ii: el niagara en bicicleta, 2018. Two channel video, color, sound, on unique unistrut mount, 105 min. Courtesy the artist and Kate Werble Gallery, New York
Frances Gallardo, from the series Aerosol, 2021. Color pencil on laser etched paper, 12 × 17 5/16 in. (30.5 × 43.9 cm). Collection of the artist; courtesy the artist
Sofía Gallisá Muriente, still from Celaje, 2020. Original score by José Iván Lebrón Moreira. 16mm and Super 8 film transferred to HD video; 40:57 min. Courtesy the artist
Javier Orfón, Bientéveo, 2018-2022. Inkjet print, 97 × 176 in. (246.4 × 447 cm). Collection of the artist; courtesy Hidrante, San Juan
Armig Santos, Yellow Flowers, 2022. Oil on linen, 84 × 72 in. (213.4 × 182.9 cm). Collection of the artist; courtesy the artist
Gabriella Torres-Ferrer, Untitled (Valora tu mentira americana) (detail), 2018. Hurricane ravaged wooden electric post with statehood propaganda, 116 × 118 × 122 in. (294.6 × 299.7 × 309.9 cm). Private collection; courtesy the artist and Embajada, San Juan
Lulu Varona, Ir y venir, 2021. Cotton thread embroidered on Aida cloth, 25 × 37 in. (63.5 × 94 cm). Collection of Jorge Garcia
“The artists in this exhibition challenge us to understand the historical, physical, and political forces that have shaped Puerto Rico, and to see both our own responsibility and vulnerability,” said Adam D. Weinberg, the Alice Pratt Brown Director of the Whitney Museum. “Puerto Rico after Hurricane Maria is a harbinger of things to come for those who are most vulnerable, not just in the Caribbean, but worldwide.”
“no existe un mundo poshuracán proposes that imagining a new Puerto Rico is absolutely and resolutely the purview of artists,” noted Guerrero, who worked in close collaboration with the artists throughout the planning of the exhibition and visited artists’ studios across the continental U.S. and in Puerto Rico. “The future of self-determination is inherently a creative act. Art can be the medium of a post-hurricane, post-austerity, post-earthquake, and post-pandemic world. This exhibition is a call to see the living and an invitation to pay tribute to the dead.”
The artists in no existe un mundo poshuracán are Candida Alvarez, Gabriella N. Báez, Rogelio Báez Vega, Sofía Córdova, Danielle De Jesus, Frances Gallardo, Sofía Gallisá Muriente, Miguel Luciano, Javier Orfón, Elle Pérez, Gamaliel Rodríguez, Raquel Salas Rivera, Gabriela Salazar, Armig Santos, Garvin Sierra Vega, Edra Soto, Awilda Sterling-Duprey, Yiyo Tirado Rivera, Gabriella Torres-Ferrer, and Lulu Varona.
“New Museum presents the first American museum survey exhibition devoted to Theaster Gates, encompassing the full range of the artist’s practice across a variety of media creating communal spaces for preservation, remembrance, and exchange. This landmark exhibition is accompanied by a presentation of newly commissioned works by Vivian Caccuri and Miles Greenberg exploring the relationship between bodies and sound waves.
Taking place across three floors of the museum, this exhibition encapsulates the full range of Theaster Gates’s artistic activities, featuring artworks produced over the past twenty years and site-specific environments created especially for this presentation. Gates has titled the exhibition ‘Young Lords and Their Traces’ in honor of the radical thinkers who have shaped his home city of Chicago and America as a whole. For Gates, collective forms of knowledge are built across objects, images, sounds, movements, and most importantly, through the relationships between people. This survey exhibition will comprise a choreography of works including paintings, sculptures, videos, performances, and archival collections that work together to memorialize both heroic figures and more humble, everyday icons. Gates’s elevation of these quieter sources of knowledge, and his assertion that collecting and archiving are forms not only of preservation but also of devotion and remembrance, have made his work reverberate both locally and internationally.” — New Museum
Installation views of “Theaster Gates: Young Lords and Their Traces” at New Museum. Photos by Corrado Serra.
“Theaster Gates: Young Lords and Their Traces” is curated by Massimiliano Gioni, Edlis Neeson Artistic Director, and Gary Carrion-Murayari, Kraus Family Senior Curator with Madeline Weisburg, Curatorial Assistant. The exhibition is accompanied by a fully illustrated catalog copublished by the New Museum and Phaidon featuring new essays by Jessica Bell Brown, Gary Carrion-Murayari, Ryan Dohoney, Coco Fusco, and Dieter Roelstraete, and an interview between Theaster Gates and Massimiliano Gioni.
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