Sheida Soleimani’s (2018) exhibition at Denny Dimin Gallery, Hotbed, is reviewed by Jillian Steinhauer in “5 Art Gallery Shows to See Right Now,” The New York Times, December 9, 2020.
Filtering by Category: Reviews
Yara El-Sherbini featured in Art-Agenda
Dina Ramadan, “Yara El-Sherbini’s ‘Forms of Regulation and Control,’” Art-agenda, November 24, 2020.
Peter Williams' exhibition is reviewed by Daniel Gerwin for Hyperallergic
Peter Williams’ (2018) exhibition Black Futures at Luis De Jesus is reviewed by Daniel Gerwin in “Peter Williams’s Afrofuturist World and Its Cyclones of Color,” Hyperallergic, October 1, 2020.
Steve Parker: Futurist Listening reviewed by Colossal
Steve Parker: Futurist Listening, curated by Marcela Guerrero, is reviewed by Grace Ebert in “Brass Horns Mounted in Interactive Sculptures by Steve Parker Emit Sound By Touch,” Colossal, January 21, 2020.
Steve Parker: Futurist Listening reviewed by Design Milk
Steve Parker: Futurist Listening, curated by Marcela Guerrero, is reviewed by David Behringer in “Circuit Boards of Sound: The Sculpture of Steve Parker,” Design Milk, January 21, 2020.
Sarah Amos: Chalk Lines is reviewed in Hyperallergic
Sarah Amos: Chalk Lines, curated by Barbara Takenaga, is reviewed by John Yau in “A Fresh Direction for Printmaking,” Hyperallergic, November 30, 2019.
Sarah Amos: Chalk Lines is reviewed in The New Yorker
Sarah Amos: Chalk Lines, curated by Barbara Takenaga, is reviewed by Johanna Fateman in The New Yorker, November 2019.
Cal Siegel: I am the box no roof can cover in Artforum
Cal Siegel: I am the box no roof can cover is featured in Artforum Critics’ Picks, reviewed by Wallace Ludel.
Cal Siegel, Artforum Critics’ Picks in Artforum International written by Wallace Ludel on Jan. 25, 2019.
Judy Linn: LUNCH in Artforum
Judy Linn’s (solo-2018) solo show at CUE Judy Linn: LUNCH is chosen by Nancy Shaver as part of “The Artists’ Artists” list in Artforum, a yearly roundup where Artforum asks an international group of artists to select a single exhibition or event that most memorably captured their eye.
Sheida Soleimani: Medium of Exchange reviewed by The Brooklyn Rail
Sheida Soleimani: Medium of Exchange reviewed by Matthew Biro from The Brooklyn Rail.
Sheida Soleimani: Medium of Exchange, The Brooklyn Rail, June 5, 2018.
Sheida Soleimani: Medium of Exchange listed in ARTnews
Sheida Soleimani: Medium of Exchange listed in ARTnews as one of the 9 art events to attend in New York City, highlighting Soleimani’s ability for sharp political commentary and humour in her photographic series.
9 Art Events to Attend in New York City This Week, June 4, 2018.
Beverly Fishman interviewed in Artcritical
Beverly Fishman interviewed in Artcritical, The Drug Administration: Beverly Fishman talks High Modernism and Big Pharma
Cue mentioned in Hyperallergic
Visible Hand: “How Art Making Is a Type of Management,” by Alexis Clements, Hyperallergic. February 6, 2017
CUE mentioned in "This Weeks Must-See Art Events: The Art World Mobilizes for 2017"
Visible Hand: “This Weeks Must-See Art Events: The Art World Mobilizes for 2017”. Art F City, Paddy Johnson and Michael Anthony Farley. January 3, 2017.
Review of Marilyn Lerner's solo exhibition at CUE in Hyperallergic
Review of Marilyn Lerner’s solo exhibition at CUE in Hyperallergic, by John Yau
Athena LaTocha mentioned in American Indian Magazine
Athena LaTocha feature article in American Indian magazine (published by the Smithsonian National Museum of the American Indian), “Athena LaTocha: The Presence of Monumentality,” Summer 2016, by Anya Montiel.
Tamara Johnson's "No Your Boundaries" reviewed on The Brooklyn Rail
Country, Home feature on The Offing
Mimi Wong covers Country, Home for The Offing. Read here.
Hyperallergic reviews Goddess Clap Back
WHAT IS HIP HOP FEMINISM?
by Jillian Steinhower
Short answer: it’s awesome. And it’s currently on view at Cue Art Foundation.
Curated by Katie Cercone, the exhibition Goddess Clap Back: Hip-Hop Feminism in Art brings together various artists who, in their work, subvert the tropes of mainstream hip-hop: the unabashed consumerism and celebrity worship, the heteronormativity, the machismo bordering on misogyny. This is hip-hop, queered. The ideas and visuals given form by these artists are not only refreshing — they’re necessary.
That all may sound heady or self-serious or depressing, but some of the best work in the show — including pieces by Kalup Linzy and Rashaad Newsome — has a light touch. One of my favorite finds in this vein was Michelle Marie Charles, who makes videos that would probably be as at home on a website like College Humor (if the humor were more diverse) as they are in a gallery. The two I saw — “Explicit and Deleted” (2012) and “Naturally Nandie” (2013) — are both spoofs, the former of your average hip-hop song and video, the latter of hair tutorial videos.
I’ll admit, a spoof of a hip-hop video filled with women dancing around doesn’t sound all that new; yet given that we live in a day and age when these things are considered acceptable — clever and funny, even! — let’s not underestimate our need for such work. Plus, the greatness of “Explicit and Deleted” (above) isn’t only in the video: it’s in the combination of images and words. Here’s the first line of the chorus: “Girl, I love you so / for all your emotional attributes such as your titties.” Add to that the fact that nearly everyone in the video is cross-dressing; Charles’s crazed face as the leading man surrounded by boobs and booties; the interjection of a 25-second incisive social commentary; and the purposefully low production values, and it all adds up to a pitch-perfect satire.
“Naturally Nandie” is similarly successful, though I suspect fewer people will be familiar with its original subject matter. Charles plays a woman offering a tutorial on how style your hair in an up-do, but about halfway through, things get weird: she starts talking about “interactive” hairstyles and placing war action figures on her head. “I’m gonna add this guy who looks a little bit like Jesus — he looks a little bit like what Jesus would look like if he had weapons,” she says comfortably. Is she improvising or working from a carefully written script? Either way, Naturally Nandie soldiers on unfazed.
Goddess Clap Back: Hip-Hop Feminism in Art continues through August 10 at Cue Art Foundation (137 West 25th Street, Chelsea, Manhattan).