may 2014

Carolee Schneemann: The Persistance of Her Memory

In 1959, Bard College suspended Carolee Schneemann—for “moral turpitude,” she says. “I painted a full-length frontal nude portrait of my partner, James Tenney.”1 It wasn’t until the early ’70s that Erica Jong could write Fear of Flying, extolling the “zipless fuck,” and Judy Chicago begin her iconic feminist installation, The Dinner Party.

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Paul McCarthy: Rotten to the Core

Paul McCarthy’s exhibition at Hauser & Wirth’s gigantic 18th Street space included sculpture carved out of blocks of walnut that were pieced together from dark and lighter segments of wood. From these composite blocks, McCarthy produced medium-size to colossal tchotchkes (a genre that is dear to him), thereby entering the arena in which Jeff Koons

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London- Emma Hart: Camden Arts Centre

Emma Hart’s Dirty Looks is a kinky office nightmare. Inspired by her time working in a call center, her installation presents a garish Kafka-esque environment in which photocopiers spit out to-do lists and glossy eroticized images of the natural world, some of which are fashioned into a phallic, bucket-headed totem.

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