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1 week ago | 
4columns.org | Aruna D’Souza
Renée Green Aruna D’Souza
Space, place, and mapping: the artist explores themes of imperialism and colonialism in a new show at Dia Beacon. Renée Green: The Equator Has Moved, installation view. Courtesy Dia Art Foundation. Photo: Bill Jacobson Studio. © Renée Green and Free Agent Media.
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1 month ago | 
4columns.org | Aruna D’Souza
Beatriz Cortez x rafa esparza Aruna D’Souza
In a new exhibition by the two artists, a spectacular collision of land and tradition, borders and migration. Beatriz Cortez x rafa esparza: Earth and Cosmos, installation view. Courtesy Art at Americas Society. Photo: Arturo Sanchez.
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1 month ago | 
nytimes.com | Aruna D’Souza
A show at the Met offers a feminist revision of Chinoiserie, a decorative style that swept through Europe in the age of empires and seeded stereotypes of Asian women. The dragon lady, the courtesan, the submissive beauty - these enduring stereotypes of Asian and Southeast Asian femininity circulated in Europe and America centuries before the vast majority of Westerners had ever laid eyes on a real flesh-and-blood woman from those parts of the world.
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1 month ago | 
4columns.org | Aruna D’Souza
American Job Aruna D’Souza An exhibition at ICP tells the people’s history of US labor from 1940 to 2011. American Job: 1940–2011, installation view. Courtesy International Center of Photography.
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2 months ago | 
nytimes.com | Aruna D’Souza
Barking Doberman pinchers behind chain link fencing and performers who looked like they came straight from the Berlin club scene made the ultracool German performance artist Anne Imhof infamous. But last week, at her first rehearsal for " DOOM: House of Hope " at the Park Avenue Armory in Manhattan, there were no dogs in sight. There were still those impossibly beautiful performers, though, many very young.
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Feb 14, 2025 | 
nytimes.com | Aruna D’Souza
Before I met the artist Christine Sun Kim at the Whitney Museum to talk about her new survey show, "All Day All Night," her team sent me a copy of her two-page "access rider." It contained a list of terms to avoid: Don't pathologize her by referring to her as a "deaf artist," and please don't call her "inspirational." It also offered resources on the distinction between small-d deaf (the audiological condition of not hearing) and big-D Deaf (the community that has emerged around the language...
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Feb 14, 2025 | 
4columns.org | Aruna D’Souza
American Artist Aruna D’Souza Placemaking and escape-making: a show at Pioneer Works explores Black geographies and histories through connections to Octavia Butler’s life and literature. American Artist: Shaper of God, installation view. Courtesy Pioneer Works.
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Jan 19, 2025 | 
businessandamerica.com | Aruna D’Souza
She supported herself as an illustrator in New York City. Eventually she devoted herself full time to her art; her painting style became playful, almost childlike, incorporating pictographs, bright colors and round-faced characters, as in “Boy, Rooster, Cat” (1964) and “Boy, Goat, Fruit” (before 1972). Her first solo exhibition was at the Oakland Museum in 1972.
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Jan 17, 2025 | 
4columns.org | Aruna D’Souza
Pippa Garner Aruna D’Souza From object modification to body modification, a revelatory show of the late artist’s work exhibits consumer culture gone wild. Pippa Garner: Misc. Pippa, installation view. Courtesy Matthew Brown. Pictured, far left, foreground: Suctionaire Chair, 1989/2024. Center, on wall: Un(tit)led (Blaster Bra), 1982/2024. Pippa Garner: Misc.
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Jan 16, 2025 | 
ourcommunitynow.com | Aruna D’Souza
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One of the indelible images in “Pictures of Belonging,” an exhibition of work by three female artists whose careers were impeded — but not snuffed out — by the incarceration of Japanese Americans during World War II, is Miné Okubo’s “Wind and Dust” from 1943. In it, a family shield their faces, and each other, from a sandstorm, huddled in a tight mass of interlocking bodies. Behind them, the desert is punctuated by barracks, a landscape of depressing sameness.
