#glenn-d-lowry

#glenn-d-lowry

"We are uniquely global and local, historic and contemporary, collection driven and exhibition driven," Westermann said. "I really needed someone who understands that complexity."

When I started, there was no art coverage in the news magazines and there was no regular coverage, even in Time ... Contemporary art, particularly, was considered a ridiculous and foolish aberration. It didn't have anything to do with art, according to a lot of people.

Although the AGO had planned to jointly purchase Goldin's moving-image work Stendhal Syndrome (2024) with the Vancouver Art Gallery (VAG) and Minneapolis's Walker Art Center, it pulled out in mid 2025 after its modern and contemporary curatorial working committee voted 11-to-9 against it. The move was unexpected, especially as the AGO already had three Goldin works in its collection. (The VAG and Walker Art Center proceeded with the joint acquisition.)

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

With 70-plus shows, it's all you need to know about the major art happenings of the season. There's something in it for everyone, from the ancient to the futuristic. Above all, this is a love letter to our city, where art never sleeps.

He's an artist that was a major presence in Los Angeles art for almost 50 years, one of the best sculptors to emerge in this town. But he hides in plain sight. Not enough people know about what makes him the artist that he is. When we look closer at Bob's work, he was an artist that was a part of the discussion here in Los Angeles for a very long time.

Brooklyn Museum Fills Its Top Contemporary Curator Spot Robert Wiesenberger was named senior curator of contemporary art at the Brooklyn Museum, a post that has been vacant since the departure of Eugenie Tsai in 2023. He comes from the Clark Art Institute in Williamstown, Massachusetts, where he was curator of contemporary projects, and was previously a curatorial fellow at the Harvard Art Museums.

In March 2021, we published an open letter signed by over 150 artists and art workers calling on the Museum of Modern Art in New York to cut ties with its then-chairman, private equity billionaire Leon Black, for his close relationship with convicted pedophile Jeffrey Epstein. It worked, kind of. Black stepped down from his role, but still sits on the museum's board of trustees to this day.

In 2024, I made a vow to never base my art criticism on wall labels. My decision came after reading reactions to that year's Whitney Biennial. "If every label in 'Even Better Than the Real Thing,' the 81st installment of the Whitney Biennial, were peeled off the walls and tossed into the Hudson, what would happen?" asked Jackson Arn in the New Yorker. (He went on to suggest that the overall show would have been much better.)

First in a Chinatown mall beneath the Manhattan Bridge and then in a nondescript third-floor room nearby, Francis Irv exhibited a heady, multigenerational mix of artists from the United States and Europe, variously established, obscure, and on the rise. Megan Marrin showed alluring paintings of 1960s celebrities (replicas of photo souvenirs shaped like clothes hangars) last fall. Win McCarthy placed bricks, plastic takeout containers, and bedding on the floor in a charged, melancholic 2024 exhibition.

I take no pleasure in saying "I told you so." Really, I don't. But I was hardly shocked by this week's news that Tina Rivers Ryan, who was named editor-in-chief of Artforum in 2024 after the dumpster fire that was the magazine's handling of an open letter in support of Gaza, was stepping down (Daniel Wenger and Rachel Wetzler will step in as co-editors, scrapping the editor-in-chief title altogether).

Marah Al-Za'anin, an 18-year-old Palestinian artist, has transformed a tent in Gaza City's Al-Rimal neighborhood into a studio. Al-Za'anin can't have been more than 15 or 16 years old when the genocide began, but she continues to pursue her passion for art and uses her brother's phone as a light source while she paints and draws late into the night. (photo by Saeed Jaras/Middle East Images/AFP via Getty Images)

Sprouting from the roof of the San Francisco Museum of Modern Art, artist Rose B. Simpson's newly installed bronze sculpture "Behold" has its gaze fixed on the cityscape before it. The Tewa of Khaʼpʼoe Ówîngeh artist, herself a mother, crafted a tender portrait of an interconnected parent and child that "asks us to be human with each other, to change our narrative through wonder, witness and a foundation in the soft warmth of our humanity," she said in a statement.

I work outside, carving and shaping the stone. Outside my house, I have a table, an extension cord, and tools. It's very cold and I have to wear all my winter clothes. When it's too cold, I do the filing and finishing work inside after I shape it outside. I listen to all kinds of music. I listen to Eminem all the time; his albums are all my favorites. For drawings, I work at Kinngait Studios or at home on my kitchen table.

Taking over the museum's transformed school building starting April 16, the cross-borough survey will celebrate MoMA PS1's 50th anniversary with a bevy of site-specific installations, new commissions, and rarely seen work by 53 artists and collectives living and working across New York City. A complete list of participants is included at the end of this article. This year, Greater New York will coincide with the Whitney Biennial for the first time in the show's history.