Jimmie Durham, Self-Portrait Pretending to Be a Stone Statue of Myself, 2006. Collection of fluid archives, Karlsruhe. Courtesy of ZKM Center for Art and Media, Karlsruhe.
Jimmie Durham: At the Center of the World
Whitney Museum of American Art, until 28 January 2018
Jimmie Durham has been an internationally renowned artist and writer since the 1960s and was a prominent political organiser for the American Indian Movement during the 1970s. This retrospective at the Whitney is a “long overdue” reflection on Durham’s influence on later artists, say Whitney curators Elisabeth Sussman and Laura Phipps in a joint email. “The Whitney is proud to present the show in New York, where Durham worked for many years and was an important voice in the downtown art community of the 1980s,” they said. “We are thrilled that this exhibition will give viewers the chance to assess Durham’s full career and will introduce a new audience to the wide range of his work.”
Trigger: Gender as a Tool and a Weapon, exhibition view at New Museum. 2017. Courtesy of the New Museum. Photo: Maris Hutchinson / EPW Studio
Trigger: Gender As a Tool and a Weapon
New Museum, until 21 January 2018
As scandals continue to rock the arts and media industries, there’s no better time for this 40-artist show at the New Museum exploring gender constructions. “We started organizing Trigger long before Trump’s election, but the election only brought into even starker relief issues that have long plagued this country, particularly around race, gender, class, sexuality, and ability,” said Sara O’Keeffe, an assistant curator of the exhibition. The artists in the show – which includes a performance by Vaginal Davis, a video installation by Mickalene Thomas and a sculpture of a braid that winds from the lobby to the fourth floor by Diamond Stingily – “have long been dedicated to challenging oppressive orders, imagining other futures, and reflecting on how we understand and represent ourselves amid this contested terrain”, O’Keeffe said.
Carolee Schneemann, Nude on Tracks, 1962–1977. Courtesy of the artist, P.P.O.W, and Galerie Lelong, New York. Photo: Charles Stein. © 2017 Carolee Schneemann
Carolee Schneemann: Kinetic Painting
MoMA PS1, until 11 March 2018
Although there are several kinetic works on view, as the title promises, the show at MoMA PS1 is a full retrospective of the feminist foremother’s varied practice in performance, painting, photography, and video, including her infamous 1964 film Meat Joy. “This exhibition represents a crucial homecoming for an artist whose work is so deeply woven in the fabric of New York City’s experimental avant-garde of the 1960s and 1970s,” said MoMA assistant curator Erica Papernik-Shimizu. “This constant circulation between the material and the ephemeral has allowed Schneemann to create the images and sensations missing from her cultural landscape over six decades, and has contributed to the deep emotional power of her work.”