ArtSeen
Floor Plans
Contributor
Claudia La RoccoCLAUDIA LA ROCCO writes about performance for the New York Times and is the founder of thePerformanceClub.org, which won a 2011 Arts Writers Grant. She is a member of Off The Park press, where she is editing an anthology of poems by painters. She is on the faculty of the School of Visual Art's graduate program in Art Criticism and Writing.
RECOMMENDED ARTICLES
Whitney Biennial 2022: Quiet as It’s Kept
By Charles SchultzMAY 2022 | ArtSeen
You either start in darkness, or you start in the light. One is not better than the other, but the choice is the first one that affects your experience of the Whitney Biennial. The show spreads out across multiple floors, but it mainly takes place on two: one is designed like a labyrinth, the other as an open field. It’s a dramatic shift. In the labyrinth your eyes can’t travel far; in the open field there is almost nothing to stop them.
two
By Susana Plotts-PinedaJULY/AUG 2023 | Poetry
Susana Plotts-Pineda is an artist, writer, and translator. Her writing has been featured in Kitchen Magazine, Global Performance Studies, Waif Magazine and The Drunken Canal. Recently, her manuscript was selected as a finalist at Wendy's Subway. Her performances and film have shown at Performance Studies International, Beam Center’s The Lighthouse on Governors Island, and the Orange County Film Fiesta. She received her MFA in Poetry at Brooklyn College. Currently, she is the Latino Poetry Fellow at Library of America.
Stanley Whitney: TwentyTwenty
By Amanda Millet-SorsaDEC 21-JAN 22 | ArtSeen
Stanley Whitney’s recent exhibit of new paintings presents his lifelong exploration of an endless oasis of color.
Jaune Quick-to-See Smith: Memory Maps
By Joanna SeifterJULY/AUG 2023 | ArtSeen
In a conversation between Smith and Whitney director Adam Weinberg, the pair describe a tenet of Smith’s art as the act of “changing nouns to verbs.” In other words, Smith’s art aims to shift the role of Indigenous people as subjects that are mapped, or are the target of imperialist abstractions like defined frontiers, to that of mapmakers themselves. Smith’s mixed-media War-Torn Dress (2002) most overtly highlights the distinctions between the mapped and the mapmakers.
