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rate_review review schedule May 19, 2026 visibility 25 link 14 artists, 1 gallery

What ‘Costume Art’ Gets Wrong About the Body

The Metropolitan Museum of Art's Costume Institute spring exhibition, featuring nearly 400 objects, pairs garments and ensembles with Western figurative artworks from the museum's permanent collection in dyadic, associative displays. The show eschews traditional art-historical timelines and context in favor of visual and thematic parallels—comparing, for example, Rudi Gernreich's Pubikini with an Egyptian statuette, or Ying Gao's sound-responsive dress with a David Hockney drawing. The exhibition is sponsored by Jeff and Lauren Sánchez Bezos.

newspaper ArtReview open_in_new Read original

rate_review review schedule May 21, 2026 visibility 4 link 6 artists

« Caïn » de Fernand Cormon : aux origines de la conscience humaine ?

Beaux Arts Magazine analyzes Fernand Cormon's monumental 1880 painting "Caïn," currently held at the Musée d'Orsay. The article describes the scene: a prehistoric, weary clan trudges through a desert, led by a haggard patriarch, with a tired mother on a litter and hunters carrying game. Cormon's work is presented as the antithesis of classical triumph, evoking a melancholic, post-traumatic atmosphere. The painting is linked to the biblical story of Cain, who killed his brother Abel and was condemned to exile, and is accompanied by verses from Victor Hugo's poem "Conscience."

newspaper Beaux Arts Magazine open_in_new Read original

rate_review review schedule May 19, 2026 visibility 7 link 3 artists

CUANDO LOS OBJETOS HABLAN. MUSEO HECHIZO, DE JUAN JOSÉ SANTOS

Juan José Santos's book "Museo hechizo" (Metales Pesados, 2025) challenges the perceived neutrality of the Western museum, presenting it as an institution shaped by colonial logics of classification, extraction, and representation. The essay centers on the concept of "lo hechizo"—understood as both artisanal precariousness and disruptive enchantment—and explores small, community-based Latin American museum experiences that operate from precarity, reciprocity, and care. Santos argues that the museum is a space of conflict where voices, narratives, and ways of constructing history are contested, and he proposes thinking of the museum through its minor, situated, and alternative forms in Latin America.

newspaper Artishock Revista open_in_new Read original

rate_review review schedule May 18, 2026 visibility 5 link 8 artists, 1 gallery

Gabrielle Goliath Sounds a Call to Action in Venice

Gabrielle Goliath’s exhibition "Elegy" is presented as South Africa’s unofficial pavilion at the 61st Venice Biennale, after the country’s Culture Minister Gayton McKenzie overrode an independent committee’s selection of Goliath, citing her proposed inclusion of a memorial for Palestinians killed in Gaza. The installation features three video works in which singers sound a single note in tribute to victims of violence: a South African femicide victim, two women killed in Germany’s colonial genocide in Namibia, and Palestinian poet Heba Abunada. The show occupies the Chiesa di Sant'Antonin in Venice, curated with Ingrid Masondo, after a legal challenge against McKenzie was dismissed.

newspaper Hyperallergic open_in_new Read original

rate_review review schedule May 19, 2026 visibility 6 link 2 artists, 2 galleries

Art Review: "The Rip in Her Sleeve" and "Iliana Arocho: Drawings" at Maiden Lane Gallery in Kingston

Maiden Lane Gallery in Kingston is hosting two concurrent exhibitions curated by Matt Moment: "The Rip in Her Sleeve," featuring pigment print photographs by Alicia Schirrmeister and Ruth Lauer Manenti, and "Iliana Arocho: Drawings," a solo show of ethereal drawings and metalpoint works by Iliana Arocho. The shows occupy two floors of a brick building that serves as an outpost for Headstone Gallery, run by Lauren Aitken and Chase Folsom, marking Moment's first collaboration with the gallery as a guest curator.

newspaper Chronogram Magazine open_in_new Read original