“Agitprop” is a word I never learned in my art history classes, despite the fact that there has pretty much always been political art. I guess the term sounds too Communist for the classroom. Historically, political motivations were generally seen in portraiture, monuments, and materials, with artwork intrinsically linked to wealth, power, and faith. In the twentieth and twenty-first centuries, artists have increasingly found ways to create politically charged artwork that speaks for the oppressed rather than the privileged, often moving into the public sphere with poster campaigns, performances, protests, and press.
A few weeks ago I had a few hours to myself in New York and, after much consternation over both the Studio Museum and the Brooklyn Museum being closed on Tuesdays, I decided to check out the New Museum’s Triennial exhibition. Titled Surround Audience, the show is the third in the museum’s “triennial” program: group exhibitions which endeavor to spotlight important artists early in their careers, predicting the future of contemporary art. The result is a museum-wide showcase packed with awesome, diverse, young artists (so young, ugh) and I liked pretty much all of it! The size and scope of the show as a whole is daunting, and I could never write about everything I saw, so instead I’ve picked out the top five artists who stuck out to me.
Ever since I read my first X-Men comic and fell in love with the fuzzy German mutant Nightcrawler, I’ve been interested in German language and culture. Some people find it surprising that such a silly, kitschy thing spurred a passion that became academic, as I made twentieth-century German art and culture one of my specialties in school, and even studied there for a semester in undergrad. Today I’m feeling that the comic book connection would have been appreciated by the artist at hand, irreverent Pop and experimental kitsch genius Sigmar Polke, whose first full retrospective is currently on view at the Museum of Modern Art in New York.
I visited the New Museum in New York for the first time a few weeks ago, and had a really good experience overall. (Though that spaceship thing was kind of a let down.) It’s kind of a strange building, an assortment of rooms piled on top of each other in a jumbled tower, with each floor serving as a single exhibition space. The main exhibit on view was devoted to Polish sculptor Paweł Althamer, spanning four floors and revealing the artist’s aesthetic innovation as well as his tendency to collaborate with people outside the art world establishment.
With a career spanning nearly forty years (and counting) and a body of work notable for both its breadth and variety, Isa Genzken is an artist well worth a look. Her current show at the Museum of Modern Art in New York is a compelling retrospective, covering everything from her early minimalist sculpture and miniature assemblages to her street photography and memorial designs for the World Trade Center. Born and raised in Germany, Genzken has primarily worked in Cologne and Berlin, with some stints in New York. She studied under painter Gerhard Richter at the Dusseldorf Fine Arts Academy, and the two were married for a time after she graduated.