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minnie evans legacy high museum whitney

The article reflects on the responsibility of critical art writing in the Southeast, sparked by the announcement that Art Papers, an international art magazine based in Atlanta, will sunset in 2026 after 50 years. The author recounts a debate among local art workers about reviewing the forthcoming Minnie Evans retrospective organized by the High Museum of Art and traveling to the Whitney Museum, which he initially declined due to a conflict of interest with curator Katherine Jentleson. He ultimately agrees to write, emphasizing the need for Black scholars to engage with self-taught Black artists. The piece examines how Evans's narrative has been mediated through the lens of white photographer and art historian Nina Howell Starr, questioning the power dynamics and what remains unknown about Evans's own agency.

Is This What “Made in America” Looks Like?

Christopher Payne's exhibition "Made in America: The Industrial Photography of Christopher Payne" at the Cooper Hewitt, Smithsonian Design Museum showcases 72 large-format photographs documenting active American factories and manufacturing processes. The trained architect turned photographer spent a decade visiting dozens of production sites across the United States, from the New York Times printing plant in Queens to the Bollman Hat Company in Pennsylvania, capturing workers' craftsmanship and the intricate steps involved in making everything from Peeps candies to jet engines. The exhibition is organized into three sections—traditional handcraft, large-scale production, and cutting-edge technologies—and coincides with the Smithsonian's celebration of the nation's 250th anniversary.

mierle laderman ukeles maintenance artist documentary review

A new documentary titled "Maintenance Artist," directed by Toby Perl Freilich, premiered at the Tribeca Film Festival. The film chronicles the career of Mierle Laderman Ukeles, who coined the term "Maintenance Art" in a 1969 manifesto to elevate everyday domestic and civic labor into art. It follows her decades-long collaborations with New York City agencies, including her seminal "Touch Sanitation Performance" (1979–80) with the NYC Department of Sanitation, and her ongoing struggle to realize the installation "Landing: Cantilevered Overlook" (2008) at Freshkills Park. The documentary weaves together archival footage, interviews, and analysis of second-wave feminism, conceptual art, and urban bureaucracy.

The Sticky Politics of Wall Texts

A critic's visit to the 36th Bienal de São Paulo led to a pointed critique of the exhibition's didactic strategy. The show, curated by Bonaventure Soh Bejeng Ndikung, featured floor-mounted placards with QR codes, poorly placed basic labels, and extremely lengthy omnibus section texts, creating a frustrating experience that oscillated between providing too little and too much information.