Pamela M. Lee

“Carissa Rodriguez: The Maid”

January 2018

Curated by Ruba Katrib Biographies of New York–based artist Carissa Rodriguez tend toward descriptions of an itinerant practice  encompassing the roles of writer, artist, and gallerist and moving from an early solo show at American Fine Arts… READ ON

PREVIEWS

“SETH PRICE: SOCIAL SYNTHETIC”

May 2017

Curated by Beatrix Ruf, Leontine Coelewij, and Achim Hochdörfer In “Dispersion,” his influential open-ended essay begun in 2002, Seth Price poses a question animating his long- standing preoccupations with technology, digital culture, and … READ ON

PREVIEWS

Pamela M. Lee

December 2015

This past year may well have been the annus mirabilis of the woman-in-rock memoir, with brilliant takes by the likes of Kim Gordon and Patti Smith appearing almost as fast as we can read them. (As of this writing, Carrie Brownstein’s … READ ON

IN PRINT December 2015 [TOC]

DOUBLE TAKES: THE ART OF JOAN JONAS

June 2015

IF THE WORD retrospective suggests a certain nostalgia, then it’s fitting that JOAN JONAS, in her celebrated showing at this summer’s Fifty-Sixth Venice Biennale, has rejected the retrospective principle entirely. Her exhibition of new work… READ ON

IN PRINT Summer 2015 [TOC]

“On Kawara—Silence”

January 2015

Curated by Jeffrey Weiss with Anne Wheeler From 1966 until shortly before his death last summer, On Kawara produced his best-known work, the unwaveringly steadfast “Today” series. The Japanese-born, New York–based artist rendered the date … READ ON

PREVIEWS

Pamela M. Lee

September 2013

In the beginning there was no earth, no water—nothing. There was a single hill called Nunne Chaha. In the beginning everything was dead. In the beginning there was nothing; nothing at all. No light, no life, no movement, no breath. In the … READ ON

IN PRINT September 2013 [TOC]

the 11th Havana Biennial

November 2012

“REVOLUTION IN RETREAT.” So blared the cover of the March 24 issue of The Economist, a “special report” on Cuba and the dawning capitalist prospects of the only Communist state in the Western Hemisphere. With Fidel Castro’s health in precipitous… READ ON

IN PRINT November 2012 [TOC]

MEDIA SPECIFICITIES

September 2012

THOUGH IT MAY LOOK LIKE an abstract play of shadows, the image on the cover of Artforum’s 1962 debut issue is, in fact, a kinetic sculpture—a jittery, vaguely anthropomorphic contraption of springs and spare parts—by the Swiss artist-provocateur… READ ON

IN PRINT September 2012 [TOC]

OPEN SECRET: THE WORK OF ART BETWEEN DISCLOSURE AND REDACTION

May 2011

With its blurry photocopied type, its rubber-stamped admonitions—CLASSIFIED, it may say, or SUPPRESSED—and its thick lines of black marker obliterating everything we really want to know, the redacted document is a paradox, an iconic representation… READ ON

IN PRINT May 2011 [TOC]

HOW TO BE A COLLECTIVE IN THE AGE OF THE CONSUMER SOVEREIGN: THE ART OF RAQS MEDIA COLLECTIVE

October 2009

AT THE CENTRE FOR THE STUDY OF DEVELOPING SOCIETIES, an independent research institution located in a leafy neighborhood in North Delhi, a clock with a curious face hangs on the wall of the library, portending an uncertain future as it presides… READ ON

IN PRINT October 2009 [TOC]