Category Archives: ART


On my way to retrieve my coat I’m paused in the hallway in someone else’s home when a man approaches to tell me he thinks his greatest privilege is his height. There’s a politics around who is tallest, and right now he’s passively blocking passage, so yes. But greatest, no. Predictably, I say, I think your whiteness is your greatest privilege. To this, he pivots and reports that, unlike other whites who have confessed to him they are scared of Blacks, he is comfortable around Black people because he played basketball. He doesn’t say with Black men because that’s implied. For no good reason, except perhaps inside the inane logic of if you like something so much, you might as well marry it, I ask him, are you married to a Black woman? What? He says, no, she’s Jewish. After a pause, he adds, she’s white. I don’t ask him about his closest friends, his colleagues, his neighbors, his wife’s friends, his institutions, our institutions, structural racism, unconscious bias — I just decide, since nothing keeps happening, no new social interaction, no new utterances from me or him, both of us in default fantasies, I just decide to stop tilting my head to look up.

I have again reached the end of waiting. What is it the theorist Saidiya Hartman said? “Educating white people about racism has failed.” Or, was it that “hallways are liminal zones where we shouldn’t fail to see what’s possible.” Either way, and still, all the way home, the tall man’s image stands before me, ineluctable. And then the Hartman quote I was searching for arrives: “One of the things I think is true, which is a way of thinking about the afterlife of slavery in regard to how we inhabit historical time, is the sense of temporal entanglement, where the past, the present and the future, are not discrete and cut off from one another, but rather that we live the simultaneity of that entanglement. This is almost common sense to Black folk. How does one narrate that?” Her question is the hoop that encircles. Claudia Rankine, from Just Us: An American Conversation*

This week join Rankine and Judith Butler—author of The Force of Nonviolence—in conversation.

This online event is presented by the New Museum’s Stuart Regen Visionaries Series program. See link below for details.


New Museum

Thursday, October 29.

4 pm on the West Coast; 7 pm East Coast.

*Claudia Rankine, Just Us: An American Conversation (Minneapolis: Graywolf Press, 2020). © Claudia Rankine.

From top: Claudia Rankine, photograph courtesy of Blue Flower Arts; Claudia Rankine, Just Us: An American Conversation (2020) cover image courtesy and © Graywolf Press; Judith Butler, The Force of Nonviolence (2020) cover image courtesy and © Verso; Judith Butler, courtesy of the photographer and the author.


SPHERE STUDIES AND SUBTERRANEAN BOUNCE—an exhibition by Nour Mobarak at Hakuna Matata—is on view through the first week of November.


Through November 8.

Hakuna Matata

3529 Roseview Avenue, Mount Washington, Los Angeles.

Nour Mobarak, Sphere Studies and Subterranean Bounce, Hakuna Matata, October 4, 2020–November 8, 2020. Images courtesy and © the artist and Hakuna Matata.


Those were halcyon times, our salad days indeed…raising our “consciousnesses” and creating a lifelong family of friends. — Fakroon (below), friend and photographic subject of Sunil Gupta

On the occasion of FROM HERE TO ETERNITYSunil Gupta’s first comprehensive retrospective exhibition in Great Britain—the artist and photographer will join curator Mason Leaver-Yap for an online conversation.

See links below for details.


Wednesday, October 28

10:30 am on the West Coast; 1:30 pm East Coast; 6:30 pm London; 7:30 pm Paris..


Through January 24.

The Photographers’ Gallery

16-18 Ramillies Street, Soho, London.

Sunil Gupta, From Here to Eternity, The Photographers’ Gallery, October 9, 2020–January 24, 2021, from top: Sunil with NY Review of Books, circa 1975; Shalini, Rudi, Sunil, Léo, 3425 Stanley, circa 1974; India Gate, 1987, from the series Exiles; Untitled #9, from the series Sun City; Fakroon, circa 1974; Untitled #50, from the series Christopher Street, 1976/2020; Shroud, 1999, from the series From Here to Eternity; Sunil Gupta, Queer (2011) exhibition catalog courtesy and © the artist, Vadehra Art Gallery, and Prestel; Sunil Gupta, Lovers: Ten Years On (2020) exhibition catalog cover image courtesy and © the artist and Stanley / Barker, design by The Entente; Sunil Gupta, From Here to Eternity (2020) exhibition catalog cover courtesy and © the artist and Autograph, graphic design Fraser Muggeridge Studio; Untitled #13, 2008, from the series The New Pre-Raphaelites; Untitled #22, from the series Christopher Street, 1976; Untitled #7, 2008, from the series The New Pre-Raphaelites; Jama Masjid, 1987, from the series Exiles. Images © Sunil Gupta, courtesy of the artist, Hales Gallery, Stephen Bulger Gallery, and Vadehra Art Gallery, © DACS 2020.


When Metro Pictures asked me to do a show in 1982, they already had an image. They represented a group of artists whose work often dealt with issues of appropriation and was often spoken of and written about together. A gallery generates meaning through the type of work they choose to show. I self-consciously made work that “looked like” Metro Pictures. The first thing you saw when you entered my show, Arrangements of Pictures, was an arrangement of works the gallery had on hand by “gallery artists” Robert Longo, Cindy Sherman, Jack Goldstein, Laurie Simmons, and James Welling. A wall label titled it “Arranged by Louise Lawler.” It was for sale as a work with a price determined by adding up the prices of the individual pieces, plus a percentage for me. I went to the collectors to whom Metro had sold work and photographed the Metro artists’ works in those contexts. I printed the resulting images a “normal” picture size and titled them “arrangements,” too—for example, “Arranged by Barbara and Eugene Schwartz, New York City.” The Metro situation at that time formed that work, and it also formed a way of working for me. — Louise Lawler*

Invited to exhibit together for the first time, Louise Lawler, R. H. Quaytman, and Cameron Rowland present new work along with selected older pieces for a group show in Cologne, now in its final week.


Through October 24.

Galerie Buchholz

Neven-DuMont-Strasse 17, Cologne.

*“Prominence Given, Authority Taken: An Interview with Louise Lawler by Douglas Crimp,” in Louise Lawler: An Arrangement of Pictures (New York: Assouline, 2000).

Louise Lawler, R. H. Quaytman, Cameron Rowland, Galerie Buchholz, September 4, 2020–October 24, 2020, from top: Louise Lawler, Water to Skin (catalogue size), 2016/2017, digital Fujiflex print face mounted to Plexiglas on museum box (The Swimming Pool, 1952, Henri Matisse, gouache on paper, cut and pasted on painted paper, installed as nine panels in two parts on burlap-covered walls, photographed at the Museum of Modern Art, New York City); Louise Lawler, Water to Skin (traced), 2016/2020, vinyl adhesive wall material (the work is as a tracing by Jon Buller available as a PDF vector file for production and installation at any scale as an adhesive wall graphic); Louise Lawler, Corner (distorted for the times, perturbée), 2014/2018, digital Fujiflex print face mounted to Plexiglas on museum box (A work by Jean-Michel Basquiat photographed at Yvon Lambert’s office, 108 Rue Vieille du Temple, Paris); Cameron Rowland, Management, 2020, time horn clock; Cameron Rowland, Out of Sight, 2020, 19th-century slave iron, 19th-century slave iron with missing rattle; R.H. Quaytman, Spine, Chapter 20 [Fraser, Anastas, Lawler], 2010, oil, silkscreen ink and gesso on wood (featuring the silkscreened image of Andrea Fraser viewing Louise Lawler’s The Princess, Now the Queen—utilized in four paintings from Painters Without Paintings and Paintings Without Painters, Chapter 8, 2006—combined with a second silkscreened image of Rhea Anastas—utilized in two paintings from Ark, Chapter 10, 2008. Two black bars and the cropping orthogonal of the Andy Warhol painting in Louise Lawler’s photo delimit the silkscreened imagery along with overpainting in Marshall’s photo oils. Down the center is a line of red, green and blue. This line was placed on all paintings in Chapter 20 that reused a silkscreen for a second time.); R.H. Quaytman, + ×, Chapter 34 [V], 2018, indigo distemper and gesso on wood; Louise Lawler, Position (noun), 1982/2020, gelatin silver print, installation view. Images courtesy and © the artists and Galerie Buchholz.


In conjunction with the National Gallery exhibition ARTEMISIA, join Michael Palin and Alexandra Lapierre—author of the historical fiction Artemisia: A Novel—in conversation.

See links below for details.


Friday, October 23.

10 am on the West Coast; 1 pm East Coast; 6 pm London; 7 pm Paris.


Through January 24.

National Gallery

Trafalgar Square, London.

Artemisia Gentileschi, from top: Self Portrait as the Allegory of Painting (La Pittura), circa 1638–9, image courtesy and © 2019 Royal Collection Trust and Her Majesty Queen Elizabeth II; Susannah and the Elders, 1610, image courtesy and © Kunstsammlungen Graf von Schönborn, Pommersfelden; Judith beheading Holofernes, circa 1612–13, image courtesy and © Museo e Real Bosco di Capodimonte, Naples, photograph by Luciano Romano, 2016; Judith and her maidservant with the Head of Holofernes, circa 1608, image courtesy and © Nasjonalgalleriet, Oslo, photograph by Børre Høstland; Judith and her Maidservant, circa 1623–25, image courtesy and © the Detroit Institute of Arts; Self Portrait as a Lute Player, circa 1615–17, image courtesy and © Wadsworth Atheneum Museum of Art, Hartford, Connecticut.