Title IX: Activism On and Off the Field “Five Duke University Students March in ‘Take Back the Night’ Protest” (1987) (photo by Peter Aman for the Duke Chronicle, courtesy New-York Historical Society) Her latest at Amant allows us to connect the dots between personal, identity-based trauma and universal forms of suffering under capitalism. Zaccagnini’s deconstructions of Latin American iconography look like vast constellations of decolonial history. Where: Amant (315 Maujer Street, Williamsburg, Brooklyn) Carla Zaccagnini: Accounts of Accounting Carla Zaccagnini, still from “Película hablada (Spoken movie)” (2017–2019) (image courtesy Cultural Counsel and Amant) Accordingly, City Lore’s latest exhibition collects recent print media made by Indigenous water protectors with images of activists at rallies over the last few years, intertwining creative labor with the direct action it inspires. Where: City Lore (56 East 1st Street, East Village, Manhattan)Ĭlimate justice is not just about shifting brand aesthetics, as some would have us believe. Like the Waters We Rise Installation view, Like the Waters We Rise (image courtesy Molly Garfinkel and Raquel de Anda) The Ecuadorian artist and community organizer presents more than 50 mixed-media works that transform recycled materials into colorful, nostalgic abstractions - a process she developed during her family’s migration to Southeast Queens. Where: Jamaica Center for Arts and Learning (161-4 Jamaica Avenue, Jamaica, Queens) Angela Miskis: It’s a Luxury to Look Back Angela Miskis, “Nine Years to Say Goodbye” (2022) (image courtesy Jamaica Center for Arts and Learning) His archives, part of the Newark Museum’s larger summer program on jazz history, portray the public and private labor that the legendary singer put into her short but triumphant career. New York photojournalist Jerry Dantzic captured Lady Day’s residency at a Newark, New Jersey nightclub in 1957. Where: Newark Museum of Art (49 Washington Street, Newark, New Jersey) Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic Billie Holiday holding her pet Chihuahua, Pepi, in front of Sugar Hill, Newark, New Jersey, Ap(photo by Jerry Dantzic, courtesy Newark Museum of Art/Cultural Counsel) Designs by 35 living artists show how the art form challenges normative conceptions of race, class, and gender all over the world. Where: Museum of Arts and Design (2 Columbus Circle, Hell’s Kitchen, Manhattan)Ī contemporary survey of avant-garde costuming details its continued political relevance. Garmenting: Costume as Contemporary Art Installation view of Zoe Buckman, “Every Curve” at Papillon Art, Los Angeles (image courtesy the artist and the Museum of Arts and Design) Sculptures and paintings by Margaret Chen, Andrea Chung, Wendy Nanan, and Kelly Sinnapah Mary address the rise of migrant labor after slavery, in which indentured servants from Asia were forced into similar, albeit lesser-known, forms of subjugation.
Where: Ford Foundation Gallery (320 East 43rd Street, Midtown East, Manhattan)
everything slackens in a wreck Kelly Sinnapah Mary, “Notebook of No Return: Memories” (2022) (photo by Sebastian Bach, courtesy Ford Foundation) Shared lineages unfold across a sprawling set of elaborate prints, textiles, and drawings from throughout design history, subverting Euro-American notions of artistic mastery. Where: The Drawing Center (35 Wooster Street, Soho, Manhattan)Ī new ornamental art exhibition reconsiders how decoration shapes perceptions of power and prestige. 1815) (Gift of Ralph Esmerian, Sotheby’s, courtesy American Folk Art Museum/Art Resource, NY and the Drawing Center) The Clamor of Ornament: Exchange, Power, and Joy from the 15th Century to the Present David Kulp, “Presentation Fraktur of a Double Eagle” (c.