Tag Archives: New Museum


JORDAN CASTEEL—WITHIN REACH—the exhibition catalog of the artist’s suspended solo show at the New Museum—is edited by Massimiliano Gioni, with a foreword by Lisa Phillips.

The volume includes texts by Dawoud Bey, Lauren Haynes, and Amanda Hunt, and features interviews by Thelma Golden and Gioni.

UPDATE: The New Museum reopens on Tuesday, September 15.


Through January 3, 2021.

New Museum

235 Bowery, New York City.

Jordan Casteel, from top: Shirley (Spa Boutique2Go), 2018, oil on canvas, Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College; Medinilla, Wanda and Annelise, 2019, oil on canvas; Benyam, 2018, oil on canvas, Komal Shah and Gaurav Garg collection;; Serwaa and Amoakohene, 2019, oil on canvas; exhibition catalog cover image courtesy and © the artist and the New Museum; Cansuela, 2019, oil on canvas; Miles and Jojo, 2015, oil on canvas, Lumpkin-Boccuzzi Family Collection; Lourdes and Karina, 2019, oil on canvas; Joe and Mozel (Pompette Wines), 2017, oil on canvas, private collection; Jenna, 2019, oil on canvas. Images courtesy and © the artist and Casey Kaplan, New York.


I have always been sympathetic to so-called minimal art. That does not keep me from criticizing its determined aloofness, which, of course, was also one of its greatest strengths. As to the implied incompatibility between a political statement/information and a work of art, I don’t think there are generally accepted criteria for what constitutes a work of art. At least since Duchamp and the constructivists, this has been a moving target…

Contrary to popular belief, eagles are really not courageous birds; they are even afraid of bicycles, as [Marcel] Broodthaers wrote. Their power is due to projection. The same is true for art—and political power. They need the red carpet, the gold frame, the aura of the office/museum—the paraphernalia of a seeming immortality and divine origin… It is important that the Thatcher painting is an oil painting. Acrylic paint doesn’t have an aura… Another reason for making a painting was that I had been stamped a conceptualist, a photomontagist, that sort of thing. This was a way to mess up the labels…

It is true that I often play on the modes of the contemporary art world, and I try to make something that is accessible to a larger public, which does not care for the histrionics of the art world. As Douglas [Crimp] pointed out, it helps that these pieces do not have the look of hermetic “avant-garde” art…

Where the Left is sometimes unnecessarily vulnerable is in its tendency to make mechanical attributions of ideology. In that respect, it mirrors the Right. We should recognize that things need to be evaluated within their respective historical contexts. Taken out of context, they are likely to be misread and can play the opposite role from that of their original settings… If I had been too concerned about co-optation, I would probably not have been able to do the things I’ve done. It can have a paralyzing effect. I saw this with some colleagues and students in the ’60s and ’70s. They either stopped working altogether or went through tremendous personal crisis, from which some eventually emerged as cynical entrepreneurs. In either case, it amounted to a capitulation to the powers that be. It takes stamina and shrewdness to survive in this mess… We just have to reconcile ourselves to the historical contingency of things. Otherwise, we fall into the idealist trap of believing in universal meanings and values. Hans Haacke*

On the occasion of the New Museum exhibition HANS HAACKE—ALL CONNECTED—the artist’s first major institutional show in the United States since Hans Haacke—Unfinished Business (1986–1987), also at the New Museum—join Haacke and co-curators Massimiliano Gioni and Gary Carrion-Murayari for a public conversation.


Thursday, October 24, at 7 pm.

New Museum Theater

235 Bowery, New York City

*Yve-Alain Bois, Douglas Crimp, and Rosalind Krauss, “A Conversation with Hans Haacke,” October 30 (Autumn 1984): 22–48; reprinted in October: The First Decade, 1976–1986, edited by Annette Michelson, Krauss, Crimp, and Joan Copjec (Cambridge, MA: MIT Press, 1987), 175–200.

Hans Haacke, from top: Condensation Cube, 1963–65, clear acrylic, distilled water, and climate in area of display; Untitled, acrylic and liquid; Taking Stock (unfinished), 1983–84, oil on canvas and gilded frame; Mobil, On the Right Track, 1980, screen print and collage of photographs; Hans Haacke, Volume I, cover image courtesy and © Museum of Modern Art, Oxford, Tate Gallery, London, and Van Abbemuseum, Eindhoven; On Social Grease, 1975, photo-engraved magnesium plates mounted on aluminum plaque (detail); MoMA Poll, 1970, two transparent ballot boxes with automatic counters and color-coded ballots, Information, Museum of Modern Art, New York, installation view; Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971, 1971, 142 black-and-white photographs, 142 typewritten cards, two excerpts from city map, and six charts (detail); Oil Painting: Homage to Marcel Broodthaers, 1982, oil on canvas, gilded frame, bronze plaque, stanchions, red velvet rope, picture lamp, red carpet, and photomural, Documenta 7, Kassel, installation view; Large Water Level, 1964–65, Hans Haake—All Connected, New Museum installation view, 2019; Hans Haacke: All Connected, cover image courtesy and © the New Museum and Phaidon. Images courtesy and © the artist, Artists Rights Society, New York, Paula Cooper Gallery, New York, and the New Museum.


To say time flies means that it ceases to have any specificity or urgency. Westerners tend to think of this as meditative—what happens when you’ve gone exploring in the computer, or you’re deep into a really good book, or falling madly in love. It’s unusual, something other than the ordinary temporal sensibility that gets us to work, the kids to school, the assignments done, the dinneron the table. How paradoxical, then, that the most rewarding and satisfying activities are those where it seems as if time ceases to exist.Marcia Tucker, 1996*

Friends and colleagues of the late Marcia Tucker—art historian, curator, and New Museum founder—will gather this week for a book launch and panel on OUT OF BOUNDS—THE COLLECTED WRITINGS OF MARCIA TUCKER.


Thursday, October 17, at 7 pm.

New Museum Theater

235 Bowery, New York City.

*Marcia Tucker, from A Labor of Love, New Museum exhibition catalog, 1996. Reprinted in Out of Bounds, 2019.

From top: Marcia Tucker; Joan Brown, The Room, Part I (The Leg), 1975, oil enamel on canvas, courtesy and © Joan Brown Estate, Anglim Gilbert Gallery, and George Adams Gallery, “Bad” Painting exhibition, New Museum, 1978; Pat Steir, The Virgin’s Dream, 1972, oil and pencil on canvas, Lannan Art Collection; Out of Bounds—The Collected Writings of Marcia Tucker, design by Catherine Lorenz, courtesy and © the New Museum and Getty Publications; Daisy Youngblood, Romana, 1987, low-fire clay, courtesy McKee Gallery, photograph by Fred Scruton; Labor of Love exhibition, New Museum, 1996; Liza Lou, Kitchen, 1991–1996, glass beads, wood, wire, plaster, and artist’s used appliances, photograph by Tom Powell, Labor of Love exhibition, New Museum, 1996. Images courtesy and © the artists, photographers, and publishers.


For her first solo museum exhibition in the United States, artist and activist Lubaina Himid introduces a new body of work at the New Museum.


Through October 6.

New Museum

235 Bowery, New York City.

Lubaina Himid, from top: Le Rodeur: The Captain and the Mate, 2017–18, acrylic on canvas; So Many Dreams, 2018, acrylic on paper; Le Rodeur: The Lock, 2016, acrylic on canvas; Le Rodeur: The Exchange, 2016, acrylic on canvas; How Do You Spell Change?, 2018, acrylic on paper. Works on canvas photographed by Andy Keate, works on paper photographed by Gavin Renshaw. Images courtesy and © the artist and Hollybush Gardens.


DISRUPTION TACTICS: RADICAL QUEER PUBLISHING AND PRINT CULTURE—a panel discussion moderated by Gregg Bordowitz—”will bring together artists, activists, and writers to explore legacies of radical queer publishing and print culture from the 1970s to today.”

Celebrating the fiftieth anniversary of Stonewall and the new edition of THE FAGGOTS AND THEIR FRIENDS BETWEEN REVOLUTIONS—written by Larry Mitchell and illustrated by Ned Asta—the event “will feature readings of historic manifestos and texts.”


Tuesday, June 18, at 7 pm.

New Museum

235 Bowery, New York City.

Larry Mitchell, The Faggots and Their Friends Between Revolutions (Brooklyn: Nightboat Books, 2019). Design and illustrations by Ned Asta, courtesy and © the artist and Nightboat Books.