“Art for the Future” probes a particular moment, in which art was a mode of political work. depaulartmuseum | ✍️ Emeline Boehringer
is perforated above eye level with rectangular ventilation holes that reveal glimpses of an inky, black interior.“Art for the Future: Artists Call and Central American Solidarities”The future was on Lucy Lippard’s mind in 1982. That year, the art historian, critic, and organizer christened the opening of all-star art collective Group Material’s New York exhibition “¡LUCHAR! An Exhibition for the People of Central America” as “an art for the future . . .
Installation view, “Art for the Future: Artists Call and Central American Solidarities,” DePaul Art Museum 2023This orientation, which relied on a prophetic belief in razor-tipped awareness, agency, and action, inflamed in a post-Vietnam War era, locked in a vision of the present crackling with possibility. Some of the most striking archival material is graphic, appropriating the language of advertising and propaganda.
In this way, Lippard’s assessment is truer than ever—the work continues to be for a future, just not the future we live in. If anything, today this future feels more remote, in a world where awareness and attention, once imagined as a sphere of political progress and action, is saturated and sold, diffused and stripped of its relationship to reality. Hans Haacke’sreads like a metaphor for this condition.
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