Why hello there, dearest Filthy Dreams readers! We made it! To the end of 2017 that is. We know–we didn’t think it would happen either. Since the end of the year pretty much makes wrap-up listicles mandatory, we thought we’d grudgingly accept by counting down our favorite art world social media meltdowns of 2017. 2017 … Continue reading
The first thing that hits you upon entering the cavernous space of Greene Naftali is the droning white noise of a dozen industrial grade fans — a noise that, while seemingly neutral and indifferent, could just as easily not register as a consequential sound at all. This mechanically hummed nonsense, which blows hot air into … Continue reading
Despite being hailed as the most “diverse” Whitney Biennal yet, the most famous works to captivate the nation’s attention managed to continue to be white artists and their struggle. We’re speaking, of course, about Jordan Wolfson’s Real Violence (2017) and Dana Schutz’s Open Casket (2016)–two shocking portrayals of sensationalized violence that centralized white suffering in … Continue reading
As most faithful Filthy Dreams readers will probably know, the shit hit the fan this week over Dana Schutz’s misguided painting Open Casket, which depicts Emmett Till in his casket, at the Whitney Biennial. To be honest, I knew as soon as I saw it at the Biennial press preview that it was a problem. … Continue reading
2016 seems to be the year that the art world rediscovered women. Well, at least in their summer group shows. With this glut of all-women exhibitions, there are valid arguments on either side whether all-women shows are good for the careers of women artists. On one hand, women could be slotted solely as “women artists”–their careers relegated to essentialism and on the other, increased visibility is never a bad thing. Continue reading