Charlotte Kent

Sep 1, 2024 | artforum.com | Travis Jeppesen |Charlotte Kent |Andrew Uroskie |Jordan Nassar

IN ART CRITICISM covering exhibitions of decorative arts or crafts, the display of marginalized media such as textiles is often cast as a newsworthy novelty and even a subversive intervention in the world of fine art. As a trio of recent exhibitions demonstrate, however, textiles have been an important, elite, even “fine” art since at least the fourth century BCE.

Aug 19, 2024 | artforum.com | Travis Jeppesen |Charlotte Kent |Andrew Uroskie |Jordan Nassar

Wilfredo Prieto’s Illuminated Stone and Unilluminated Stone, 2012–14IF YOU’RE LUCKY ENOUGH to be in Venice on a sunny day, it will take your eyes a while to adjust after you enter the Teatro Fondamenta Nuove on the northern bank of Cannaregio. A curtain is lifted, and suddenly you are enshrouded in darkness. It is nearly all-engulfing: Just across from the entrance, there is a single spotlight forming a circle on the floor, toward which your eyes naturally gravitate.

Jun 13, 2024 | artnews.com | Charlotte Kent

Art and finance have salacious appeal, as writers from Danielle Steele to Steve Martin have found, the latter stating tongue-in-cheek toward the end of his novel, An Object of Beauty: “Art was still art whether it was tied to money or not.” Yet Rembrandt died in penury, as New York Times reporter Zachary Small recounts in the introduction to Token Supremacy, their newly published book on the 2021 NFT market bubble and its aftermath.

Jun 1, 2024 | artforum.com | protestBy Charlotte Kent |Charlotte Kent |Kito Nedo |Rachel Wetzler

IN OCTOBER 2023—that is to say, in the immediate aftermath of the Hamas attacks on Israel on October 7 and Israel’s violent response—the Frick Pittsburgh postponed the opening of “Treasured Ornament: 10 Centuries of Islamic Art” (now scheduled for August 10, 2024) to avoid putting staff in “the impossible position of discussing the war” with the diverse publics who would come through its doors.

Jun 1, 2024 | artforum.com | Andrew Uroskie |Charlotte Kent |Kito Nedo |Rachel Wetzler

FOR A BIENNIAL OFTEN VIEWED as taking the pulse of the contemporary moment, the event this year features moving-image works that mostly reckoned with history: its stories, its subjects, and its narrators. But history itself has become a vital subject of contemporary debates, here in America as elsewhere. Who would have thought that we would be deliberating whether chattel slavery benefited the enslaved, as Florida is now teaching?