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"For the inaugural exhibition of its satellite location in Williamsburg, Brooklyn, the artist Emily Katrenik is eating the wall that separates the gallery's exhibition space from the bedroom of its director [...] Video of her ingestion is included in the exhibition; she also removes some of the plaster and bakes it into loaves of bread, which are available for gallery visitors to sample."
I am not a feminist artist. Now Ive got your attention. I am following a time-honored tradition and taking a page out of Marina Abramovics playbook.
At a recent talk, I was asked whether I thought that we can experience art without language, whether we need language and words. My answer was that it is pretty well established that language is precessionary to perception.
Sandro Botticelli’s “Portrait of a Lady at a Window” (c. 1470 75),included in The Renaissance Portrait from Donatello to Bellini at the Metropolitan Museum,is a beautiful, philosophically complex painting.
Productive anonymitythe ability to experiment without much at stake except your own process of discovery.
Fifteen years later, we still seem to be in a condition of post-feminism and what bell hooks, referring to Sheryl Sandbergs brand of lean in feminism, has called faux feminism.
Warp: strong and straight, from Old English weorpan, to throw, the cast of the net, the warp of the fabric is that across which the woof is thrown
When an artist dies before they have fully achieved the critical place their work calls for, a necessary task begins, of sharing their work and creating critical and historical context. Susanna Heller: Beyond Pain, The Last Drawings, compiled, edited, and published by two of Hellers oldest and dearest friends, artist Marlene Dumas and art historian Suzanne Styhler, is the first step in that task of celebrating and contextualizing an important body of work.