Feb 13–Mar 16
On these dates, enjoy reduced admission ($19 adults; $14 seniors and students) and see Fast Forward and Human Interest. Two floors are closed as we prepare for the 2017 Biennial.
Tony Lewis’s recent drawings begin with a statement that he wrote, based on found quotations, to describe the past, present, and future of race relations in the United States. He breaks down this original, undisclosed statement, disassembling its syntax and distressing the words’ appearance on the paper. What is left are the faded remnants of the source, which become a new form of language that viewers are forced to interpret for themselves. Working in the tradition of other visual artists whose works analyze language and its effects, such as Lawrence Weiner (b. 1942), Jenny Holzer (b. 1950), Glenn Ligon (b. 1960), Barbara Kruger (b. 1945), and William Pope.L (b. 1955), Lewis’s stray letters and dismantled words also function on a graphic level. The graphite and pencil that he uses to painstakingly form the letters’ shapes spread out across the paper, over loose lines and smudges, to produce a field of marks that lacks clarity and, like any language, discovers its own inevitable limitations.
Tony Lewis’s work is on view in the Museum’s fourth floor galleries.
Academy Records and Matt Hanner
Ei Arakawa and Carissa Rodriguez
Robert Ashley and Alex Waterman
Lisa Anne Auerbach
Lucien Castaing-Taylor, Véréna
Paravel, and Sensory Ethnography Lab
Critical Practices Inc.
Zackary Drucker and Rhys Ernst
Radamés “Juni” Figueroa
Gaylen Gerber with David Hammons,
Sherrie Levine, and Trevor Shimizu
Tony Greene curated by Richard
Hawkins and Catherine Opie
Yve Laris Cohen
My Barbarian (Malik Gaines, Jade Gordon
and Alexandro Segade)
Sara Greenberger Rafferty
Steve Reinke with Jessie Mott
Valerie Snobeck and Catherine Sullivan
Charline von Heyl
David Foster Wallace