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What the exhibition aims to document are contemporary artists’ reactions to a shared, ongoing global ecological crisis and protests against it. Many of the works provide sanguine visions for a possible future marked by a symbiotic relationship between humans and “nature”—which, more often than not, is consonant with natural history and bare wilderness.
Charrière’s current ambit is diametrically opposed to the preservationist idea of nature articulated by the American Transcendentalists and neo-Luddites. This is not to say pessimism has won over. The exhibition prods at the ritualistic relationship between man and nature, veering closer to the ideas of the nineteenth-century German Romantics than those of current, activist environmentalists.
When I emerge from an art gallery or a museum, the world around me looks different. Leaving the Metropolitan Museum of Art late one afternoon, the col
A Baedeker for adventurers yearning for the unknown, the unnoticed and the unexpected on a walk around New York City.
WRITING IN 1973 for Art International, Douglas Crimp reviewed Blythe Bohnen at New York’s A.I.R. (Artists in Residence Inc.) Gallery, the landmark women’s cooperative that opened in 1972, of which the artist was a founding member. That same year, she completed her MFA at Hunter College and was included in the “Annual Exhibition: Contemporary American Painting” at the Whitney Museum of American Art. “Brushstroke,” the near-taxonomic series that Bohnen had started in 1968—and which included 48 Brushstrokes, 1971, a matrix of gesture, instantiated and recalled, that was reproduced o...