Danielle Wu on Muck Rack

Danielle Wu

New York
As seen in: South China Morning Post, Hyperallergic, Artsy, The Architect's Newspaper, JD Supra, ARTnews, Frieze, Lexology, Artforum, Mondaq and
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Articles

From the Archives: House of Worship

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By Danielle Wu, Megan Kirby, Lucy Sternbach
| The Offing
This piece was originally published on January 14, 2020. The most consistent yet overlooked character of any horror is easily the haunted house. Rather than instill fear through antiquated design, recent artistic production in Bong Joon Ho’s Parasite (2019), where the affluent and elegant Park family mansion functions as a looming antagonist, reveals equal unease about modern style. Fluorescent-lit galleries and handsome sliding bookcases disguise a secret tucked deep inside a dark underbelly.
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Four New York City Shows to See Right Now

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By Seph Rodney , Julie Schneider, Danielle Wu, Imani Wiliford
| Hyperallergic
The exhibitions this week show us how we shape ourselves in history’s image, and the other way around. Lotus L. Kang’s assemblages at 52 Walker draw from diasporic memory, yet her draped film sculptures form an ongoing document of the exhibition’s idiosyncrasies of light and movement. Meanwhile, Rashid Johnson’s survey at the Guggenheim Museum draws from a dense network of Black intellectual thought, offering in turn a contemporary visual vernacular.
Open in Who Shared View Duplicates (76) Issue with article?

Lotus L. Kang’s Hopeful Doom Scrolling

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By Danielle Wu
| Hyperallergic
We are greeted by what appears to be a pair of metal drums suspended from the ceiling upon entering Lotus L. Kang’s exhibition Already at 52 Walker, curated by Ebony L. Haynes. Their musical potential, quieted for now, is instead visualized through sharp metal forms tumbling vertically downward.
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