June 3 – July 15, 2023

May 13 – July 16, 2023

With infertility and anxiety plots, season three takes a mature turn

Seven insights from the Barbie creator Ruth Handler

How controversial summer hit Sound of Freedom could impact the film industry

April 4 – July 16, 2023

June 24 – July 16, 2023

From The Last of Us and The Diplomat to Silo and The Bear

June 3 – July 15, 2023

June 3 – July 15, 2023

Foundwork announces the open call for the 2023 Foundwork Artist Prize, its annual juried award for emerging and mid-career artists working in any media. The 2023 honoree will receive an unrestricted $10,000 grant and studio visits with each of this year’s esteemed jurors:

‌

Alex Gartenfeld, Artistic Director, Institute of Contemporary Art (ICA), Miami; Davida Nemeroff, Founder, Night Gallery, Los Angeles; Shinique Smith, Multidisciplinary Artist, Los Angeles; Emiliano Valdés, Chief Curator, Medellín Museum of Modern Art, Medellín; and Nicola Vassell, Founder, Nicola Vassell Gallery, New York.

‌

For information on how to participate, visit www.foundwork.art/artist-prize.

Why disruptive behaviour isn't anything new

The surprising upsides of reading fiction for kids

April 1 – July 16, 2023

June 8 – July 29, 2023

May 12 – July 15, 2023

Why gothic lit and its moody sister, 'dark academia', are ruling TikTok

Ansel Adams' stunning images show the beauty and fragility of America

If you purchase an independently reviewed product or service through a link on our website, ARTNews may receive an affiliate commission.

What’s Amazon Prime Day?

Related Articles

Carolyn Lazard’s video CRIP TIME (2018), now on view at the Museum of Modern Art, lasts only 10 minutes but feels much longer. The entire work is one unbroken take, shot by a camera pointed down at a table, upon which are laid seven pillboxes, one for each day of the week. For some viewers, that shot offers an achingly slow experience; for others, its images will appear all too familiar.

Across the video’s runtime, Lazard can be seen opening the boxes and dropping in an array of pills—circular tablets, maroon discs, gigantic blue capsules. Lazard’s hands move with deliberation, only rarely faltering as a pill slips away before it is picked back up again and dropped in its rightful place. The medications properly distributed, the video ends with Lazard shutting the cases, restoring them to their former state.

CRIP TIME’s title alludes to the concept describing the pace at which disabled people experience life. Yet those searching for grand statements about chronic illnesses will not find it in this work, which reports on daily rituals undertaken by Lazard and people like them.

“I find myself interested in the labor that facilitates our staying alive and that labor is care and care work,” they said in an email interview.

Works by Lazard in the spirit of this one have appeared in venues ranging from the Whitney Biennial to the Venice Biennale. Their latest show is now in its final week at the Institute of Contemporary Art in Philadelphia, the city where they are from.