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The shroud of apparent sincerity over the banal evils of technology is rapidly unraveling.  What’s art got to do with it? Jenny Wu (@safflower_lady) wanders through New York’s Armory Week to find out. Pictured: Marc Kokopeli, ‘The Hare’, 2026, Moissanite, 925 Sterling Silver, LED screen 5 x 5 x 5 cm. Photo: the artist. © the artist. Courtesy the artist and Gladstone, New York by @artreview_magazine
4
24 days ago
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Following the death of queer experimental filmmaker Jack Smith, who covered the walls of his apartment in ‘campy murals of goddesses with plaster cones for breasts’, performance artist Penny Arcade (@penny_arcade_forever) was able to salvage pieces of the walls, by stalling the landlord via flirtatious phone calls.⁠ ⁠ Jenny Wu (@safflower_lady) explores Arcade’s hand in another posthumous estate project, that of Turkish-American photographer Sheyla Baykal, who was ‘known as a kind of “vital fringe figure” and de facto documentarian.’⁠ ⁠ Read the full article at the link in bio.⁠ ⁠ Pictured:⁠ ⁠ Sheyla Baykal, ‘Self-portrait’, 1994, silver gelatin print, 51 x 41 cm. Courtesy Sheyla Baykal Archive and Soft Network⁠ ⁠ ‘Cookie Mueller’, 1994, silver gelatin print, 51 x 41 cm. Courtesy Sheyla Baykal Archive and Soft Network⁠ ⁠ ‘Horizontal Thinking’, 2026, installation view at PARTICIPANT INC (@participantafterdark). Photo: Studio Kukla⁠ ⁠ ‘Horizontal Thinking’, 2026, installation view at PARTICIPANT INC. Photo: Studio Kukla by @artreview_magazine
12
a month ago
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‘Rising Up: Rocky and the Making of Monuments’ contextualises the bronze statue of Sylvester Stallone on the museum’s front steps, which commemorates the fictional Philadelphian heavyweight.⁠ ⁠ Jenny Wu (@safflower_lady) wonders if it’s populism or profit that’s catching the eye of Philadelphia’s Rocky-obsessed cultural tiger.⁠ ⁠ The exhibition is on view at the Philadelphia Museum of Art (@philamuseumart) through 2 August.⁠ ⁠ Pictured:⁠ ⁠ A. Thomas Schomberg at work on the ‘Rocky’ statue in an undated photo. Courtesy Schomberg Studio⁠ ⁠ Neck Amphora, 510-490 BCE, Artist/maker unknown, ROK-1. Courtesy Philadelphia Museum of Art⁠ ⁠ Alex Webb (@webb_norriswebb), ‘Philadelphia, Rock Ministries Boxing Club’, 2016, ROK-138. Courtesy Philadelphia Museum of Art⁠ ⁠ Rashid Johnson (@rashidjohnson), ‘Self Portrait laying on Jack Johnson’s Grave’, 2006, Cosmic Studios, Private Collection, ROK-66. Courtesy Philadelphia Museum of Art by @artreview_magazine
2
2 months ago
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Feeding the AI rush, datacenters are everywhere now. Jenny Wu (@safflower_lady) connects the architectural vacuity of the server farm to a longer history of ‘dirty’ work.⁠ ⁠ Read the full article at the link in bio.⁠ ⁠ Pictured:⁠ ⁠ Abattoirs de La Villette, Paris, 1922. Photo: Agence Rol. Courtesy Bibliothèque nationale de France⁠ ⁠ Aria Dean, ‘Abattoir, U.S.A.!’, 2023, single-channel video, sound, colour, 10 min 50 sec. Courtesy the artist and Greene Naftali, New York.⁠ ⁠ ENIAC programming, New York, 1947. Courtesy ARL Technical Library by @artreview_magazine
16
2 months ago
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In New York’s Chinatown, a new ‘jailscraper’ project includes retail space and art galleries for the general public, accomplishing – as farce – the abolitionist goal of making carcerality disappear.⁠ ⁠ In her latest column, Jenny Wu (@safflower_lady) wonders how we *really* make prisons disappear.⁠ ⁠ Pictured:⁠ 1, 2. Paul Pfeiffer, Perspective Study, 2026 (installation view in Mulberry Bend, Protocinema at ISS Storefront for Ideas). Photo: Sidian Liu. Courtesy the artist and ISS Storefront for Ideas, New York⁠ 3. Photo: Cal Hsiao. Courtesy The W.O.W. Project, New York by @artreview_magazine
3
3 months ago
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Largescale international biennials have dominated the artworld in recent decades. ⁠ ⁠ A series of new exhibitions attempt something more local, but what, Jenny Wu (@safflower_lady) asks, does it mean to be a local in the first place?⁠ ⁠ Read the full article at the link in bio.⁠ ⁠ Pictured:⁠ ⁠ The Aldrich Decennial: ‘I am what is around me’, 2026 (installation view featuring Em Rooney, ‘Love Streams’, 2026; Courtesy the artist and Derosia, New York). Photo: Olympia Shannon. Courtesy The Aldrich Contemporary Art Museum⁠ ⁠ Dominic Chambers, ‘Trilogy (a flight of primaries)’, 2025. Photo: Studio Kukla. Courtesy the artist and Lehmann Maupin, New York, Seoul, and London⁠ ⁠ Julia Watchel, ‘LOL’, 2023. Courtesy the artist and VON AMMON⁠ ⁠ Left to right: Harun Farocki, ‘In Comparison’, 2019; Cathy Lu, Pile, 2022; and Mierle Laderman Ukeles, ‘MANIFESTO FOR MAINTENANCE ART 1969!’, 1969, installation views. Photo: Mark Thomas Duggan. Courtesy Medina Triennial by @artreview_magazine
10
3 months ago
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Nancy Holt’s sculptures allow viewers to focus on sections of the arid landscape, ‘not unlike the establishing shot of a silent Western’. Jenny Wu (@safflower_lady) asks if this tunnel vision blinds spectators to ‘the disorder, violence and ad hoc thrills of a wider society’.⁠ ⁠ Read the full article at the link in bio.⁠ ⁠ ‘Nancy Holt: MoonSunStarEarthSkyWater’ is on view at Goodwood Art Foundation (@goodwoodartfoundation), Chichester, through 1 November.⁠ ⁠ Pictured:⁠ ⁠ Nancy Holt, ‘Sun Tunnels’, 1973–76, Great Basin Desert, Utah. Photo: Victoria Sambunaris. © Holt/Smithson Foundation and Dia Art Foundation/Artists Rights Society (ARS), New York. Courtesy Dia Art Foundation, New York⁠ ⁠ Nancy Holt, ‘Sun Tunnels’, 1973–76, Great Basin Desert, Utah. Photo: Victoria Sambunaris. © Holt/Smithson Foundation and Dia Art Foundation/Artists Rights Society (ARS), New York. Courtesy Dia Art Foundation, New York by @artreview_magazine
5
4 months ago
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One way we might remember Marcel Duchamp is for his nonchalant attitude towards contingency (bar *that* urinal) and his rejection of the concept of ‘artistic genius’.⁠ ⁠ At least, the artist hardly has a reputation for being a control freak. Take for instance a request made of his sister ‘to locate and sign his name on a bottle rack in his Paris studio, so that he could turn it into a readymade ‘from a distance”. Yet, ArtReview’s Jenny Wu (@safflower_lady) questions whether Duchamp’s attitude towards mortality and artistic legacy was ever that laissez-faire.⁠ ⁠ Read the full article at the link in bio.⁠ ⁠ ‘Marcel Duchamp’ is on view at the Museum of Modern Art (@themuseumofmodernart), New York, through 22 August.⁠ ⁠ Pictured:⁠ ⁠ Marcel Duchamp, ‘Multiple Portrait of Marcel Duchamp’, 1917, gelatin silver print, 9 × 14 cm. © Artists Rights Society (ARS), New York; ADAGP, Paris; Estate of Marcel Duchamp⁠ ⁠ ‘In the Infinitive (The White Box)’ (detail), 1966, box of 79 facsimile notes (dating from 1914–23) contained in a Plexiglas case with a screenprint reproduction of the Glider Containing a Water Mill on the cover, 33 x 29 x 4 cm. Photo: Tim Tiebout. Courtesy Philadelphia Museum of Art⁠ ⁠ ‘Étant donnés’ in Marcel Duchamp’s New York studio photographed by Denise Brown Hare in 1968. Courtesy Philadelphia Museum of Art⁠ ⁠ ‘Box in a Valise’ (From or by Marcel Duchamp or Rrose Sélavy), 1935–41/1943, leather valise containing sixty-nine miniature replicas and reproductions in various mediums and on various supports, with one hand-coloured collotype on celluloid, 41 × 38 × 10 cm (closed). © Artists Rights Society (ARS), New York; ADAGP, Paris and Association Marcel Duchamp. Courtesy The Museum of Modern Art, New York and James Thrall Soby Fund by @artreview_magazine
7
5 months ago
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‘The latest edition of the Costume Institute’s annual spring exhibition is an exercise in pattern recognition and analogy – and a real head-scratcher at that’, writes Jenny Wu (@safflower_lady), Associate Editor at ArtReview, in a review of the show.⁠ ⁠ With an array of garments, mannequins and artworks from the Met Museum’s permanent collection on display, Wu writes that “Costume Art’ proves that one can upend traditional perceptions of cultural products simply by dislodging them from their temporal and geographic contexts, but the same cannot be said for us humans and our bodies’.⁠ ⁠ Read the full review at the link in bio.⁠ ⁠ ‘Costume Art’ is on show at The Met Fifth Avenue (@metmuseum), New York, through 10 January 2027.⁠ ⁠ Pictured:⁠ ⁠ ‘Classical Body’, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art⁠ ⁠ ‘Disabled Body’, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art⁠ ⁠ ‘Corpulent Body’, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art⁠ ⁠ ‘Epidermal Body’, Gallery View. Photo © Anna-Marie Kellen / The Metropolitan Museum of Art by @artreview_magazine
2
5 months ago
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In her latest ArtReview column, Jenny Wu (@safflower_lady) explores ‘In Minor Keys’, the main exhibition of this year’s Venice Biennale.⁠ ⁠ Featuring a five-channel video installation from Éric Baudelaire, the sculptures of Beverley Buchanan, and Sohrab Hura’s intergenerational portraits, Wu critiques what it means to curate ‘quintessential biennial art’ in the midst of a politically fraught 61st edition of the Biennale.⁠ ⁠ Read the full article at the link in bio.⁠ ⁠ Pictured:⁠ ⁠ ‘In Minor Keys’, 61st Venice Biennale, 2026, installation views featuring Alfredo Jaar. Photo: Luca Zambelli Bais. Courtesy La Biennale di Venezia⁠ ⁠ ‘In Minor Keys’, 61st Venice Biennale, 2026, installation view. Photo: Andrea Avezzù. Courtesy La Biennale di Venezia⁠ ⁠ ‘In Minor Keys’, 61st Venice Biennale, 2026, installation views featuring Mohammed Z. Rahman (above) and Sohrab Hura (below). Photo: Andrea Avezzù. Courtesy La Biennale di Venezia by @artreview_magazine
73
5 months ago
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In the ArtReview Podcast, artists, thinkers and cultural figures are invited to choose three works as lenses through which to examine their practice and explore critical issues impacting the contemporary art world.⁠ ⁠ In our sixth episode, artist Hyeree Ro (@hyereemro) speaks to ArtReview associate editor Jenny Wu (@safflower_lady) about gardens, maintaining friendships as artists and exhibiting at the Korean pavilion for the 61st Venice Biennale, opening next month.⁠ ⁠ Listen now at the link in bio.⁠ ⁠ Credits:⁠ ⁠ Interviewer: Jenny Wu @safflower_lady⁠ Host and producer: Chiara Wilkinson @chiarawilkinson⁠ Audio editor: Charlie Duffield⁠ Music design: Iona Smith ⁠ ⁠ Images: ⁠ ⁠ Hyeree Ro. Photo: Hyunjung Rhee⁠ Hyeree Ro, Niro (2024). Image courtesy the artist⁠ Hyeree Ro, Carry (2025). Image courtesy the artist by @artreview_magazine
7
6 months ago
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As a new exhibition opens at Fondazione Prada (@fondazioneprada) spotlighting the works of American conceptual artist Richard Prince and cinematographer Arthur Jafa, ArtReview associate editor Jenny Wu (@safflower_lady) poses that age-old question: who *really* owns images?⁠ ⁠ From Prince’s pin-up biker models in ‘Girlfriends’ to Jafa’s use of police violence footage in ‘Love is the Message, The Message is Death’, issues of representation and appropriation are constant undercurrents in ‘Helter Skelter: Arthur Jafa and Richard Prince’ (on view 9 May – 23 November). Jafa also confronts the ‘largescale pillaging of Black culture by white artists’ in his 2003 manifesto ‘My Black Death’, citing Picasso’s collection of African sculpture, among others. ‘More than permission, power licenses the act of appropriation, as well as one’s ability to produce, manipulate and sell images of others in the first place’, writes Wu. ⁠ ⁠ Read the full article at the link in bio. ⁠ ⁠ Pictured:⁠ ⁠ Arthur Jafa, SloPEX (still), 2023, single-channel video (colour, sound), 105 min. Courtesy the artist, Gladstone Gallery, Sprüth Magers and Sadie Coles HQ.⁠ ⁠ Arthur Jafa, BG (still), 2024, video (colour, sound), 73 min 16 sec. © the artist. Courtesy the artist, Gladstone Gallery, Sprüth Magers and Sadie Coles HQ.⁠ ⁠ Richard Prince, Untitled (Girlfriend), 1993, Ektacolor photograph, 152 × 102 cm. © and courtesy the artist.⁠ ⁠ Richard Prince, Untitled (Publicity), 1999, photographs and silkscreen on paper in artist’s frame, 102 × 81 × 4 cm. © and courtesy the artist.⁠ by @artreview_magazine
8
6 months ago
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