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Articles by Andrea K. Scott
Summer Art Preview
Just as flowers take root in graveyards, the lavish, colorful installations of the Jamaican artist Ebony G. Patterson reflect nature’s beauty while revealing dark truths, particularly relating to colonialist legacies. A monumental glass peacock and a glittering flock of sculptural vultures are among the elements in her site-specific project, titled “. . . things come to thrive . . . in the shedding . . . in the molting . . . ,” at the New York Botanical Garden.
Budini di riso, i dolcetti di Pasqua toscani più golosi di una pastiera di pasta con una crema super golosa
I budini di riso sono dei tipici dolcetti toscani. In realtà, non si tratta di un budino ma di una sorta di muffin di pasta frolla con un ripieno di crema di riso e crema pasticciera, aromatizzato con scorza di limone e arancia grattugiata. Sono perfetti per la colazione, per una merenda in compagnia o […]
Ananasmisu, più bono della torta Mimosa: un’ottima idea per la festa della donna
Un dolce delicato e leggero, fresco, un simbolo della festa più importante per le donna in Italia. Un dolce che non può essere come gli altri. L’ananasmisu rappresenta uno dei dessert che anticipano la primavera. Per questo motivo è colorato, fresco e buono. Dopo tutto la torta mimosa non è altro che un dolce a […]
Spring Art Preview
In 1971, the feminist art historian Linda Nochlin challenged centuries of chauvinism with a groundbreaking essay titled “Why Have There Been No Great Women Artists?” Nochlin, who died in 2017, would have been gratified by the lineup at New York City’s museums this spring, as women take center stage.
Opinion | Thank you for helping us transform hospital care in Niagara
A hospital is about so much more than just physical buildings where care is provided. It’s about people inside those walls who work hard every day to care for their community. It’s about patients who come for that care in times of need. It’s about compassionate care that happens every minute of every day inside those buildings, and equipment required to deliver that care. That compassion isn’t just from us as health-care providers to you as residents.
The Year in Art
2022 in Review New Yorker writers reflect on the year’s highs and lows. In our current art world, the certainty of missing something has become inevitable. One contributing fact is that the connoisseur class, collectors and museum curators alike, insist that the art-fair circuit—essentially a farcically far-flung and fast-paced shopping spree—is a vital context for art.
Alex Katz’s Conversations with Friends Original
“Gathering” is the title of the Guggenheim’s triumphant Alex Katz retrospective (on view through Feb. 20), but it might easily have been “Conversations with Friends”—and not just because a stylish detail of a Katz double portrait graces the cover of Sally Rooney’s novel by that name.
Winter Art Preview
The Chicago-based phenom Nick Cave is best known for his “Soundsuits,” elaborate wearable assemblages that dazzle whether they’re presented as sculptures or seen in motion during performances. As jubilant as these intricate costume-objects are, they also suggest protective gear for vulnerable bodies.
Fall Art Preview
A picture by Wolfgang Tillmans might be an intimate nude or a galactic abstraction, in color or black-and-white, extra-large or the size of a postcard, displayed framed or just taped to the wall. This fluid approach has made the fifty-three-year-old queer German photographer one of the most influential figures of his generation. MOMA surveys his beautiful, transgressive, and empathetic œuvre in “To Look Without Fear.” (Opens Sept.
Summer Art Preview Original
The Chilean-born artist Cecilia Vicuña, a self-described “poet of precarity,” creates daring, beautiful works—paintings, textiles, books, performances, films—that interweave language, spirituality, progressive politics, and ancient Andean culture. Vicuña has lived in New York City since 1980, and now the Guggenheim presents the artist’s first museum retrospective, “Cecilia Vicuña: Spin Spin Triangulene,” in her adopted home.
Spring Art Preview
The "Whitney Biennial 2022: Quiet as It's Kept" is the eightieth edition of the museum's influential and inevitably divisive take on the current state of American art. The exhibition's co-curators, David Breslin and Adrienne Edwards, began envisioning the show before the pandemic shutdown, which delayed their efforts by a year.
The Otherworldly Art of Joseph E. Yoakum
Categories in art can be confounding. The term “Impressionist” was coined by a Parisian critic to make a laughingstock of Claude Monet. Donald Judd, who is considered the consummate Minimalist, always rejected the label. The thorniest designation of all may be that of “outsider artist.” Just as the word “primitive” was once dismissively used to yoke together artistic geniuses who were not European, the category of outsider has an inherently lower-rung ring to it. It also has a few loopholes.
The Year the Art Scene Rebounded, Expanded, and Surrendered to N.F.T.s
The pandemic is ongoing and confusion persists—and I’m not talking about the Omicron variant. You can’t discuss art in 2021 without mentioning N.F.T.s. Non-fungible tokens stormed the gates of the contemporary-art establishment in March, when Beeple, the nom de keyboard of the digital artist Mike Winkelmann, sold a crypto-art work at Christie’s for more than sixty-nine million dollars.
Winter Art Preview
This winter, many major museums in New York City look closely at a single artist. An intriguing exception is “The Hare with Amber Eyes,” at the Jewish Museum. The exhibition, designed by Diller Scofidio + Renfro, takes its title from the British ceramicist Edmund de Waal’s best-selling memoir, which traces the legacy of the Ephrussi family, a European banking dynasty whose fortune was plundered by the Nazis.
The Healing Art of Harmonic Vibrations
In 2019, archeologists published findings that the sculptors of Monte Alto, a pre-Mayan civilization in Central America, made the navels and cheeks of their massive figures out of magnetized stone. The purpose of this, one theory suggests, was to personify the human life force.
Fall Art Preview
In 2008, the American Conceptualist Adam Pendleton, then in his mid-twenties, conceived “Black Dada,” a poetic manifesto of sorts, about avant-gardism, abstraction, and civil rights. In 2015, Pendleton planted a flag for Black Lives Matter at the Venice Biennale. In the ambitious installation “Adam Pendleton: Who Is Queen?,” the artist fills MoMA’s five-story atrium with paintings, drawings, and textiles, augmented with sound and moving images. (Opens Sept.
Rediscovering a Revolutionary Gallery Show of Black Women’s Art
On the Fourth of July, in 1970, six American artists declared independence in an Echo Park loft, in Los Angeles.
Eleanor Ray | The New Yorker
Art work courtesy the artist and Nicelle Beauchene Gallery Given the portable size, about six by eight inches, of the paintings of Eleanor Ray, you might guess that the young Brooklyn-based artist works on location, maybe in the Great Basin Desert, a Tuscan church, a studio with a view, or one of the other locales she portrays. But Ray doesn’t paint from life, and she doesn’t use photographs, either.
Summer Art Preview
Paul Cézanne’s prominence as a painter overshadows his dedication to drawing, but the French Post-Impressionist put pencil to paper, often adding watercolor, almost every day of his career.
Jonathan Berger An Introduction To Nameless Love
Courtesy the artist and Participant Inc. Jonathan Berger is an unusual artist. You could mistake him for a biographer. One acclaimed piece—both a work of art and a curatorial project, as is Berger’s habit—divined the mysteries of Andy Kaufman. (Performance is often on Berger’s mind.) In the beautiful exhibition “An Introduction to Nameless Love,” at Participant Inc. (through Dec.
Who Speaks For The Oceans
Few people are better qualified to answer the question “Who Speaks for the Oceans?” than David Gruber, a marine biologist and whale whisperer who founded Project CETI—the Cetacean Translation Initiative. Gruber is also a distinguished professor at Baruch College, where, during the past three years, he joined a cohort of students, artists, curators, and faculty to respond to that question of environmental empathy with a polyphonic exhibition, installed at the college’s Mishkin Gallery through Dec.
Ellen Berkenblit
The lady, or the tiger? That question was first posed, in a nineteenth-century American fairy tale, to a princess whose dilemma could never be solved. But the irresistible pictures of Ellen Berkenblit, on view at the Anton Kern gallery through May 26, are a potent reminder that, within the fantastical space of a painting (such as the almost eight-foot-tall “Circa,” above), every risk is worth taking.
Yvonne Jacquette
Since the late nineteen-seventies, the name Yvonne Jacquette has been synonymous with aerial landscapes: cities twinkling at night or patchwork rural expanses, seen from the high floors of skyscrapers or from low-flying planes. These paintings (and drawings and prints) are vibrant but distant, expressing their love of the unpredictable world with equanimity. Call the images realist if you insist, but their intricate patterns tilt toward abstraction, a reminder that paintbrushes aren’t cameras.
Cataclysm The 1972 Diane Arbus Retrospective Revisited
Fifty years ago, a posthumous retrospective of a New York photographer broke attendance records for a one-person show at MOMA. Crowds lined up around the block to see a hundred and thirteen black-and-white pictures by Diane Arbus, a relative unknown whose brilliance was already an open secret among her peers.
Uman | The New Yorker
The ecstatic new paintings by the self-schooled Uman have more colors than colors have names. Her star-making début at the Nicola Vassell gallery—“I Want Everything Now,” on view through June 17—is similarly overflowing. The fifty works on canvas and paper shift in subject from mystical inner visions and illicit midnight trysts to a South African form of house music that inspired a TikTok craze (“Amapiano Dance,” pictured above).
The Best Art of 2020
Farah Al Qasimi’s series of seventeen effervescent color pictures, taken in New York City neighborhoods favored by immigrants, appeared on a hundred bus shelters citywide.Photograph by James Ewing / Courtesy Public Art Fund This has been a despicable year, but not without its silver linings. The puppy population of New York City soared, Biden beat Trump, and the truth-to-power urgency of Black Lives Matter finally became undeniable.
Benny Andrews | The New Yorker
Courtesy the Benny Andrews Estate and Michael Rosenfeld Gallery The American artist Benny Andrews, who died in 2006, at the age of seventy-five, painted with deep feeling for working people. He arrived at the extraordinary composite technique he called “rough collage”—incorporating fragments of clothing and other elements into his figurative images—while completing a portrait of the janitors at the School of the Art Institute of Chicago, which he attended on the G.I. Bill.
Azuma Makoto’s Provocative Botanical Sculptures, in “Flower Punk”
Alison Klayman’s documentary shows how a former punk musician brought his sensibility—part poet, part mad scientist—to the unlikely medium of floral art. Who is the most audacious floral sculptor alive? If you guessed Jeff Koons, whose “Puppy” requires some thirty-eight-thousand flowers to build, you’re wrong. The correct answer is Azuma Makoto, the Japanese botanical artist who is the star of “Flower Punk,” Alison Klayman’s delightful, and unexpectedly moving, documentary film.
Liu Xiaodong | The New Yorker
© Liu Xiaodong / Courtesy Lisson Gallery When the virtuoso Chinese realist Liu Xiaodong began making watercolors of locked-down New York, he had already hit Pause himself. The fifty-six-year-old artist had just finished a beautiful series of plein-air group portraits, painted on both sides of the U.S.-Mexico border, and was hanging out in Manhattan until the opening of a related museum exhibition at the Dallas Contemporary.
The Removal of a Theodore Roosevelt Statue Is a Good First Step in Rethinking America’s Monuments
On June 21st, the American Museum of Natural History made the clear-eyed decision to remove a racist equestrian statue of Theodore Roosevelt from its front steps. In the monument, Roosevelt towers over an indigenous man and a black man, whose roles in the bronze—beyond literalizing the myth of white supremacy through their subordinate placement—are to carry Roosevelt’s guns.
Little Dragons Everywhere — Call Me Scotty Productions
My hands are shaking as I type. I’d rather be working on my play. Or sitting in the backyard looking at the birds. Or, frankly, anything else right now. But I can’t keep silent anymore. Yesterday there was a massive breakthrough for LGBTQ rights in the United States. The Supreme Court did the right thing backing protections for Lesbian, Gay, Bisexual, Transgender, and Queer workers.
Morgan Bassichis
Illustration by Ohni Lisle If your nighttime routine now includes insomnia, Morgan Bassichis wants you to know that you’re not alone.
New York’s Art World Faces the Coronavirus Shutdown
Art offers a refuge in times of crisis. But what happens when the refuge goes dark? Among the many incomprehensible victims of the coronavirus are New York City’s museums and galleries, all of which are now closed until further notice. The first to shut down was the city’s largest, the Met.
Spring Art Preview
Shortly after the Metropolitan Museum of Art was founded, in 1870, Henry James wrote a prescient review of its first show, describing the selection of Old Master paintings as “an enviably solid foundation for future acquisition and development.” A hundred and fifty years later, those acquisitions span more than five thousand years.
A Young Swiss Photographer’s Transfixing Portraits of the Women in Her Orbit
The young Swiss photographer Senta Simond shoots her subjects in natural light, but it’s the platonic-erotic bonds of close friendship that give them their particular glow. Simond credits the intimate, spontaneous mood of her portraits to her unfussy process: her subjects are women she knows, some of whom have been her models for a decade; she uses minimal equipment, in non-studio settings, and seeks out plain white backgrounds to position her subjects against.
A Pioneering Video-Art Curator Chronicles the Medium in “Video/Art: The First Fifty Years”
Read Don’t be fooled by the straightforward title of the lively new book “Video/Art: The First Fifty Years.” A better description of Barbara London’s indispensable and enticingly personal history arrives two pages in, when she writes, “This book describes the madcap trajectory of a pliable medium.” Few guides are more qualified to lead readers through the rapid rise of the once renegade art form, which is now so ubiquitous that screens and paintings share walls in museums—London was the very...
Farah Al Qasimi Brings Jubilation to New York City Bus Routes
For most people, public transportation in New York City disproves a cliché: it’s about the destination, not the journey. It takes the mind of an artist to see a bus route and think of a party.
Nicky Nodjoumi | The New Yorker
Courtesy the artist and Helena Anrather, New York In 1981, the painter Nicky Nodjoumi fled his native Iran for New York City when his solo exhibition at the Tehran Museum was shut down by Ayatollah Khomeini, just one day after it opened. Sixteen years later, short on cash for supplies and working in the Brooklyn loft he shared with his wife and daughter, the artist began painting on the front page of the New York Times, a daily practice that lasted three years.
Reframing Modernism at the New MOMA
By Andrea K. Scott November 12, 2019 “The Shape of Shape,” and exhibition of works selected by the artist Amy Sillman, is an exciting expression of the ethos of the newly renovated MOMA.
Winter Art Preview
Kehinde Wiley, Donald Judd, and more. By Andrea K. Scott November 1, 2019 Illustration by Simon Landrein This fall, Tribeca became Manhattan’s latest art destination as multiple galleries decamped there from Chelsea. The essential nonprofit Artists Space returns to its roots—it was founded in the neighborhood, in 1972—inaugurating its new home on Cortlandt Alley with an adventurous show of works by Danica Barboza, Jason Hirata, Yuki Kimura, and Duane Linklater (opens Dec. 6).
Spotlight The Pencil Is A Key
Courtesy Martha Henry Fine Art; photograph by Martin Parsekian Welmon Sharlhorne drew “The Eight Ball Company” (pictured) in ballpoint pen on a file folder, around 1996. He was forty-four years old and had spent half his life in Louisiana’s notorious Angola prison, sentenced to twenty-two years on one count of extortion. The guards had refused to give him art-making materials, so he requested office supplies, to contact his nonexistent lawyer.
Mitch Epstein’s Urgent Look at Communities Vying for American Land
“Standing Rock Prayer Walk, North Dakota, 2018.” Photographs by Mitch Epstein / Courtesy Sikkema Jenkins & Co. “Standing Rock Prayer Walk, North Dakota, 2018.” Photographs by Mitch Epstein / Courtesy Sikkema Jenkins & Co. At the beginning of this decade, the photographer Mitch Epstein spent two years taking pictures of trees.
Fall Art Preview
A new MOMA, Amy Sherald, Rube Goldberg, “Rachel Harrison Life Hack,” and more. Illustration by Max Dalton The painter Amy Sherald, who has described herself as “an American realist, painting American people doing American things,” made headlines last year, when her official portrait of the former First Lady Michelle Obama was unveiled. The Hauser & Wirth gallery exhibits her latest luminous, color-washed figures. (Opens Sept.
The Whitney Biennial Protests and the Changing Standards of Accountability in Art
By Andrea K. Scott July 31, 2019 Activists jamming the lobby of the Whitney Museum of American Art, in December, to demand the removal of Warren B. Kanders, the vice-chairman of the museum’s board of directors. Photograph by Erik McGregor / Pacific Press / Alamy Anybody who doubts the power of artists to effect real-world change is not keeping up with the news.
Inside a Vanished Hub of Beijing’s Experimental-Art Scene
“1995 No. 8.1” (Zhang Huan, “Metal Case”), 1995. Photographs by RongRong / Courtesy the Walther Collection and Steidl “1995 No. 8.1” (Zhang Huan, “Metal Case”), 1995. Photographs by RongRong / Courtesy the Walther Collection and Steidl On July 11th, the Art Newspaper reported that scores of Chinese police in riot gear had descended on Roma Lake, a budding art district near the Beijing airport, and forced artists out of their studios.
A Photographer’s Ode to the Women of Versailles
“La Voisin,” 2019. Photographs by Viviane Sassen / Courtesy of Château de Versailles and Stevenson, Cape Town and Johannesburg The Palace of Versailles is synonymous with spectacle. The first was a six-day-long extravaganza (Baby whales! Fireworks! The première of Molière’s “Tartuffe”!) hosted by Louis XIV, in 1664. Times change, and spectacles with them. In the twenty-first century, the palace embarked on an ambitious series of contemporary art exhibitions.
How Jeff Koons’s “Rabbit” Became Big Game
Save this story Save this story Save this story Save this story Being expensive is not the same as being great. Koons’s “Rabbit” is both. In 1986, the year it was made, it was shown at the Sonnabend Gallery, where it made an immediate impact.
Summer Art Preview
Mrinalini Mukherjee’s fibre-rich sculptures, moon shots at the Met, Maurice Sendak’s “Wild Things” at the Morgan, and more. Illustration by Allison Filice When the Indian artist Mrinalini Mukherjee was a graduate student in mural painting, she happened upon hand-dyed hemp rope in a Gujarat market.
Project EATS and Other Highlights from the Frieze Art Fair
The fair features, among other works, Dawoud Bey’s photographs of David Hammons’s legendary snowball sale in lower Manhattan. Photograph by Dawoud Bey Avant-garde art has a green thumb.
Paul Mpagi Sepuya Mines the Queer History of the Portrait Studio
“Darkroom Mirror (_2150768),” 2018. Photographs by Paul Mpagi Sepuya / Courtesy Team Gallery “Darkroom Mirror (_2150768),” 2018. Photographs by Paul Mpagi Sepuya / Courtesy Team Gallery What are the conditions for making portrait photography? These days, if you’ve got a phone and a face, you’re all set. Historically, though, taking a portrait meant having a studio.
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