How different the New York art world was when Deborah Kass produced her 1989–92 series “The Art History Paintings.” That fin de siècle period fostered all manner of discourse relating to postmodernism, feminism, queer theory, multiculturalism, intersectionalism, and more. A shared sense of urgency—to dismantle hierarchies, to reconfigure the canon, to recuperate the suppressed cultural trajectories of the twentieth century—prevailed.

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Deborah Kass (BFA ’74) is one of four recipients being recognized for contributions to business, the arts, research and engineering at Carnegie Mellon University’s 2025 Commencement ceremony. “It is a CMU tradition to award honorary degrees to exemplary leaders whose lives and work inspire our community. This year’s recipients have profoundly impacted our world,” said CMU President Farnam Jahanian.

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Stein’s iconography has fascinated artists working across styles and generations, who have also been drawn to the aspects of her identity that rendered her marginal: her gender, her sexuality, the ‘difficulty’ of her writing and the vitriol she received from critics. Andy Warhol included a blown-up image of Stein’s passport photo in his series ‘Ten Portraits of Jews of the Twentieth Century’ (Gertrude Stein, 1980); Deborah Kass adopted his printing techniques to create Let Us Now Praise Famous Women #2 (1994–95), which answered back to Warhol’s portrait of the Rauschenberg family (Let Us Now Praise Famous Men, 1963) with a series of Stein’s family photographs, situating the writer within a feminist art-historical canon. In “Untitled” (Alice B. Toklas’ and Gertrude Stein’s Grave, Paris) (1992), Felix Gonzalez-Torres photographed the flowers surrounding Stein and Toklas’s shared grave, marker of the storied relationship that could never be recognized by law. Two decades earlier, pioneering mail artist Ray Johnson regularly invoked Stein’s name in his playful, pop-inflected collages, positioning her centrally within his own ever-expanding network of icons and influences. In Ice (c.1972), Johnson writes the names of Stein, Man Ray and Claes Oldenburg amid Rorschach-like ink blots, while Wed Ded Lead (1968) encloses a key in a frame made up of quotations from Stein’s 1927 opera libretto Four Saints in Three Acts, hinting at the possibilities latent within her punning language. Johnson also designed the logo for Tender Buttons, a legendary button emporium on New York’s Upper East Side named after Stein’s text, which often functioned as a venue for happenings in the 1960s.

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Salon 94 is proud to restage Deborah Kass’ The Art History Paintings, her full-frontal response to the patriarchal, exclusionary art history culminating in the late 1980s. Painted between 1989 and 1992—the advent years of New York’s reckoning with intersectionality—the works challenge the reigning narratives of art history that ignored the roles of gender, race, ethnicity, and privilege in sustaining the status quo.

A dozen paintings reunited in our second-floor galleries—including important loans from The Guggenheim and The Jewish Museum—are a collective and enduring call to arms, confronting the ongoing erasure and minimization of voices throughout art history.

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Join us for a dynamic conversation between James S. Snyder, Helen Goldsmith Menschel Director, the Jewish Museum, and artist Deborah Kass on her work in the Museum's collection and recent art projects.

Kass, who considers herself a “total, absolute, 100 percent provincial New Yorker,” has challenged conventions in the art world throughout her prolific career. Her practice spans multiple disciplines and media, and her work has been shown in the US and internationally.

Kass is the creator of the monumental OY/YO sculpture, a work that uses New York City’s culturally specific, yet universal, lingo to communicate collective pride and exasperation. It has become a New York icon and photo op for tourists and residents of all backgrounds.

Tickets: $18 General; $15 Students and Seniors; $12 Jewish Museum members
Doors open at 6 pm.

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At Salon 94, feminist painter Deborah Kass presents large-scale works in The Art History Paintings 1989–1992, subverting narratives of legitimacy and legacy fraught with patriarchal influences. On her expansive canvases, Kass combines imagery that the art historical canon may consider “low-brow”—cartoons or wrestling manual illustrations—with specific allusions to artistic movements that almost exclusively lauded the achievements of white men. The third edition of H. W. Janson’s History of Art sits on a table at the entrance of the show, testifying to how, until very recently, a version of history that completely erases women was taught and propagated. In My Spanish Spring (1991–92), for instance, a Robert Motherwell rendition somewhat phallic in form shares a canvas with Ferdinand the Bull, a queer-coded 1930s character often interpreted as an antidote to the political violence of WWII and the Spanish Civil War. In Making Men 2 (1992), two foot outlines from Andy Warhol’s dance diagrams are superimposed on two mid-wrestling young men, one of whom is almost grinning as the other grabs him by the neck. Irreverent in her reconsideration of masculinity as a force and structure, Kass told me about Eve Kosofsky Sedgwick’s 1985 book, Between Men: English Literature and Male Homosocial Desire, and a 1981 Barbara Kruger piece that reads: “You construct intricate rituals which allow you to touch the skin of other men.”

The works in The Art History Paintings 1989–1992 were created during a time of grief and anger following the AIDS epidemic of the 1980s, but it was also when a proliferation of writings and theories fueled the rise of gender studies as an intellectual discipline. “There was a lot of pushback when I first made these paintings—things were different back then,” Kass said. “But I was feeling overall optimistic, and it’s different looking back today.” Notifications from my NYT app went off a few times when I made my way through the show. A sense of doom seemed to float in the air, but I felt once again grounded by Kass’s vitality, cheeky humor, and optimism. Though the show was not planned to respond to the new presidency, in the context of March 2025, it is especially salient and necessary.

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Deborah Kass created the Art History Paintings out of frustration at not seeing herself in the halls of museums even as she fell in love with the work of the artists themselves. That contradictory dynamic of attraction and repulsion is what gives these paintings their power, as her biting critiques are tempered by her humor, and her formalist sensibility marries disparate parts to create searing attacks on the history of exclusion.

There’s a curious image of a headless, chestless, and armless Lucy van Pelt from the popular Peanuts comic strip that Kass reproduces à la Warhol on two of the dozen paintings in her current exhibition, The Art History Paintings 1989–1992 at Salon 94 gallery. Rendered as a simple white line on a black surface, the erasure makes the normally recognizable cartoon figure almost indecipherable, transforming it into something unfamiliar while pushing us to question the foundations of what we think we know.

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Goya Contemporary Gallery is pleased to present a new edition of prints in collaboration with Deborah Kass, which will debut for the first time during the 2025 IFPDA Print Fair at the Park Avenue Armory later this month.

When asked to describe the print, Kass expressed deep concern over the current erosion of democracy, highlighting the profound human cost to both Americans and the rest of the world as the United States edges closer to a dangerous form of dictatorship, and Europe moves closer to war. Regarding the work, she stated, "Save the country. It's now or never. I don't know what else to say.” 1

Ten percent (10%) of the proceeds from the sale of these works will be donated to the ACLU.

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Artist Deborah Kass joins Director of the Zimmerli Art Museum at Rutgers University Maura Reilly for a conversation.

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For more than three decades, Deborah Kass has been using the language of the art market in order to deconstruct and subvert it. Her new exhibition, The Art History Paintings, now on view at Salon 94, comprises 12 works that were born out of the Reagan years, during which America’s middle class was squeezed and a new order of wealthy young white men who understood art as a bona fide asset emerged. Working as a queer Jewish woman, Kass rarely found a place in an industry careening rapidly toward commodification, so she spent her illustrious career challenging the conventions of an exclusionary market and reinterpreting its popular tropes and motifs. “I’d often go to the MoMA and the Met after school,” she told her friend and fellow artist Titus Kaphar last month. “I’d roam the galleries and I fell in love.” But these institutions, she continued, “are love letters to the white men who made it.” In conversation, Kass and Kaphar explored her career-long mission of disrupting the regime, the intense misogyny of the 1990s, and how they were first brought together by the poetry of Adrienne Rich.—EMILY SANDSTROM

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When doing assignments over the past two years in Philadelphia’s Historic District or visiting the paper’s newsroom on Independence Mall, as a photographic exercise and a way to clear my mind, I would set a timer on my phone for 7.6 minutes (you know, for our big 1776 anniversary next year). Standing at the exact spot, diagonally across Market Street from the “OY/YO” sculpture by artist Deborah Kass outside the Weitzman National Museum of American Jewish History, I watched the pedestrians and traffic.

Inspired by the yellow car version of the classic kids-in-car driving game Punch Buggy, I wanted to see if I could get a picture of a yellow car — or umbrella or taxi cab — passing in front of the sculpture.

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I couldn’t be prouder of this.

Join art historian Rachel Spiegel Gerstein to learn about the Wadsworth’s new Jewish Art & Culture Research Project. In this initiative, artworks from across the permanent collection are examined through the lens of the Jewish experience, that is, considering Jews as a religious, ethnic, and cultural minority.

Hear Gerstein’s insights into Deborah Kass’s painting "Single Red Yentl (My Elvis)", in which the artist blends personal history with art historical tropes to challenge our assumptions about identity and beauty.

This virtual program was recorded on November 12, 2024.

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The main focus of the talk was the work of Deborah Kass, a queer Jewish woman who creates art through a fascinating process called appropriation, in which artists borrow, copy and alter existing works to create their own art.

According to Gerstein, Kass was obsessed with Andy Warhol, recreating his works and putting her unique spin on them to insert herself into an artistic world where she didn’t often see herself.

She did see herself in Barbra Streisand, though. Her love for both artists led her to appropriate Warhol’s Triple Elvis, replacing him with the image of Streisand from the movie Yentl (pictured at the top of this review). The movie puts a large emphasis on Jewish identity, culture and history, so it’s no surprise that Kass decided to use that image of one of her heroines as the basis for her work.

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For the last two months, FF2 has been proudly spotlighting the work up People for the American Way (aka People For), a nationally known progressive advocacy group founded by legendary TV producer Norman Lear of “All In The Family” fame. In the run up to election day, their ‘Artists for Democracy’ campaign has utilized the voices of artists across the country to encourage all Americans to get out and vote on – or before – November 5th.

Throughout September, I had the honor of interviewing three amazing women artists who are partnering with the campaign: Beverly McIver, Deborah Kass, and Victoria Cassinova. In my conversations with these women, I came to learn not only more about their work, but the drive which connects them all—a drive to unite the country, and to save America!

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Eight years ago, as the United States faced an unprecedented presidential election, we asked a group of artists to create the political posters they’d like to see. Four years after that, as Black Lives Matter protests roiled the country, artists of color shared with us their points of view. Astonishingly, we now find ourselves at an even more critical crossroads. With so much hanging in the balance, we are showcasing 14 original posters made by artists over the age of 70—members of a generation that understands firsthand just how important it is to vote. The fact that they took the time to participate—June Leaf passed away at age 94, just days after submitting her contribution—underscores the existential nature of the moment. Proud as we are to publish these works, we hope that in the next electoral cycle we will be in a position where this project won’t feel quite as urgent.

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With the 2024 US presidential election less than four weeks away, and early voting already underway in some states, artist-led efforts to engage voters—and campaign for the Democratic nominee, Vice-President Kamala Harris—are kicking into high gear.

This week, as part of its Artists For Democracy initiative, the non-profit People for the American Way launched a voter engagement campaign featuring artist-designed signage in seven large cities (including Houston, Miami, Atlanta, Las Vegas and Philadelphia) as well as billboards opposing former president Donald Trump and supporting Harris in five of the critical battleground states (Arizona, Michigan, North Carolina, Pennsylvania and Wisconsin). The latter campaign includes billboards featuring art by Carrie Mae Weems, Shepard Fairey, Deborah Kass, Amalia Mesa-Bains, Beverly McIver, Cleon Peterson, Christine Sun Kim and Hank Willis Thomas, among others.

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Last Monday, FF2 announced a new series focusing on women artists participating in the “People For” ‘Artists for Democracy’ campaign.

As explained in that earlier post, People For is a progressive organization dedicated to fighting against right-wing extremism. In the run up to November, their ‘Artists for Democracy’ campaign gives partner artists a platform “to create work which highlights the supreme importance of the 2024 presidential election.”

Each Monday for the rest of September, we will interview one of these artists as they use their voices and talents to back the Kamala Harris campaign.

Today, we are proud to spotlight ‘Artists for Democracy’ contributor and mixed media artist Deborah Kass!

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New York - If you can make it here you can make it anywhere well easier said than done. Home to the world's most renowned art schools, museums and galleries New York continues to lure creatives with the vision of artistic success. But what does it really take to make a name for yourself on such a competitive art scene? In the second season of Unseen I'm traveling to New York to talk to curators, academics and critics about their impact on the artist careers. I will visit museums, galleries, artist studios, art residencies and foundations to learn more about the diverse ways an artistic formation can take and, as always, I am taking you with me.

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The living room’s indisputable star and visual anchor is the Double Double Yentl (My Elvis) by Deborah Kass. In this ingenious send-up of Andy Warhol’s Pop Art classic, the artist replaces Elvis with Barbra Streisand posing as a young male Talmudic scholar in the 1983 movie Yentl. “I just love Deb Kass’s chutzpah,” says Georgis of the work, which presides over one end of the space. “The idea of Barbra Streisand and Yentl in Miami with a kind of tropical Latin backbeat makes me very happy.”

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Deborah Kass is a big name in the feminist canon of contemporary American artists. A politically active artist never shied away from making statements through her works, but also by being actively involved in Hillary Clinton's 2016 presidential campaign. Among Kass’ important series are The Warhol Project - the artist reimagined Warhol's iconic works by addressing issues of representation and identity and America's Most Wanted- series includes images of cultural and political figures, questioning their stereotypical roles and values. Kass’ Art Historical Paintings made a breakthrough through an explicit critique of the male-dominated art canon in the 1990s. Kass's work has been exhibited widely in solo and group exhibitions at major institutions, including the Museum of Modern Art (MoMA), the Whitney Museum of American Art, and the Jewish Museum in New York. Her works are part of many prestigious collections, such as the Solomon R. Guggenheim Museum, the Museum of Modern Art, and the Whitney Museum of American Art. It is an honor to feature Kass as part of Hot Coffee Conversations and to ask her a few questions.

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Last May 14th, The Women’s Division of Albert Einstein College of Medicine held its 70th Spirit of Achievement Awards Luncheon at the Rainbow Room.

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A new bill introduced in the United States Congress yesterday, March 20, aims to establish a Smithsonian museum of American Jewish history. The legislation, which would help transfer ownership of the existing Weitzman National Museum of American Jewish History in Philadelphia to the Smithsonian Institution, is notably sponsored by vocally pro-Israel Democratic legislators Debbie Wasserman Schultz of Florida and Bob Casey of Pennsylvania.

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Like Pop Art itself, Kass’ feel good spins is unapologetically in your face. The algorithm that reconfigures Kass’ text is costumed as a slot machine recalling the nostalgic glitz and glamor of Las Vegas’s heyday. Each generated triptych will be minted into the gambler’s wallet. To sweeten the deal, in the tradition of the gambling world, each spin could earn the collector special prizes.

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Deborah Kass is an American artist whose work explores the intersection of pop culture, art history, and the construction of self. Kass works in mixed media, and is recognized for her paintings, prints, photography, sculptures and neon lighting installations. In her 2000’s series feel good paintings for feel bad times, Kass reimagines paintings of iconic, predominantly male artists–Kenneth Noland, Ed Rusha, Frank Stella–by inserting text from pop culture aphorisms ripped from film, pop music, and Broadway musicals.

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The renowned contemporary artist Deborah Kass is set to introduce her first-ever digital art collection. Titled “feel good spins for feel bad times,” the series will be available exclusively on Arsnl Art, a digital platform dedicated to empowering artists through emerging technologies.

Kass, known for her vibrant pop art that often reimagines the works of predominantly male artists like Kenneth Noland, Ed Ruscha, and Frank Stella, is taking a bold step into the digital realm. Her new collection features up to 777 digital triptychs, which are set to go on sale this December, offering a timely artistic exploration during the holiday season. Kass’s journey into digital art is rooted in her acclaimed 2000s series, “feel good paintings for feel bad times,” where she infused pop culture elements into classic art styles.

Her latest digital series revisits this concept, but with a unique twist: the artworks are generated through a special algorithm, designed to mimic a slot machine, which Kass playfully refers to as her “Kass-ino.”

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The show—featuring work by artists like Deborah Kass, Peter Saul, and Woody De Othello—spans Venus Over Manhattan’s two gallery spaces and delves into the more unsightly spectrum of emotions.

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In the latest episode of “Interpretations,” Julia Bryan-Wilson names Louise Nevelson a drag mother for her influence on queer, feminist, and Black artists such as Robert Mapplethorpe, Deborah Kass, and Noah Purifoy.

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The brilliant Director of the Whitney Museum and one of the foremost artists of our times discusses the Supreme Court’s new Andy Warhol case.

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This week, on a street corner in downtown Columbus, Ohio, the Hebrew phrase “Tikkun Olam,” along with its translation, “Heal the World,” is being displayed in crisp white, green and yellow print against a blue background.

The billboard, designed by visual artist Deborah Kass, is one of 12 arresting artworks popping up in seven states, and Washington, D.C., as part of The Highest Form of Wisdom is Kindness, a project aimed at fighting rising antisemitism in the United States. The campaign is the work of art collective For Freedoms, which has enlisted 13 artists — some Jewish, some not — for the effort, among them Kass, Hank Willis Thomas and Carrie Mae Weems.

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Watch artist and educator Zavier Sabio interpret works from the Jewish Museum collection in our American Sign Language Tour. In this tour, Sabio interprets the painting "Subject Matters" by Brooklyn based artist Deborah Kass.

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Does it say “Yo” or does it say “Oy?” Depends on which side of things you stand on.

Once upon a time, in a distant 2015, a fluorescent banana-colored aluminum sculpture landed in New York’s Brooklyn Bridge Park. If you viewed it from Manhattan, it shouted out a saucy “YO.” But if you glanced at it from Brooklyn, it read a rather disappointed “OY.”

Eight-feet tall and 17-feet wide, the three-dimensional “OY/YO” is the work of Brooklyn-based pop culture artist Deborah Kass, her first-ever sculpture. From its original perch at Brooklyn Bridge Park, it was later moved to the Brooklyn Museum, where it is now part of its permanent collection.

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LISBON – During a short visit to Portugal today to attend the 60th anniversary celebration of the ‘Art in Embassies’ program promoted by the U.S. Embassy in Lisbon, First Lady Jill Biden stressed the power of art in diplomacy.

The three-day Art in Embassies anniversary celebration will feature the work of American artists Sanford Biggers, Nick Cave, Deborah Kass, Maya Lin, Christopher Myers, Aliza Nisenbaum, Amy Sherald, Deborah Willis and Hank Willis Thomas, and Portuguese artists Leonor Antunes, Vasco Araújo, Ângela Ferreira, Fernanda Fragateiro, Mónica de Miranda, and Diana Policarpo.

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The U.S. Department of State Bureau of Overseas Buildings Operations’ Office of Art in Embassies is launching a traveling exhibition as part of a year-long initiative for its 60th Anniversary called the Democracy Collection. The exhibition, “A More Perfect Union: American Artists and the Currents of Our Time,” opens to the public on May 25th at the Acropolis Museum in Athens, Greece, moves to Lisbon, Portugal, in June, and arrives in Geneva, Switzerland, during the United Nations (UN) Human Rights Council Session on June 29.

At each location, U.S. embassies will host art-filled public diplomacy events on democracy. U.S. Ambassador to Greece George Tsunis will host Partners in Democracy, a symposium featuring emerging voices and thought leaders—among them documentary photographer Platon whose portraits of world leaders grace the covers of Time and other magazines—who will discuss the current challenges democracies face.

U.S. Embassy Lisbon, led by Ambassador Randi Charno Levine, will host a three-day program, starting with the Democracy Collection exhibition, reception, and discussion at the Catholic University of Portugal. The exhibition will be followed by a series of workshops, panel discussions, and public events hosted by its partners at the Central Tejo at Museu da Electricidade and the Calouste Gulbenkian Foundation. Iconic American artists from both Ambassador Levine’s Art in Embassies exhibition, “Celebrating Diversity: Democracy and Representation in Contemporary Art,” and the Democracy Collection (Sanford Biggers, Nick Cave; Deborah Kass; Maya Lin; Christopher Myers; Aliza Nisenbaum; Amy Sherald; Dr. Deborah Willis; Hank Willis Thomas) will join Portuguese artists for in-depth discussions on various DEIA topics, which are central to democracy and diplomacy. The program will culminate in a celebration at Ambassador Levine’s official residence showcasing the Celebrating Diversity exhibition.

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Deborah Kass's pop-art-inspired, text based work explores the intersection of pop culture and art history.

Paired with Stacey's classic silhouettes, the vibrant artwork of Deborah Kass comes together to perfectly empower women.

We continue to celebrate Women's history month with these incredible pieces of art!

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When we presented people with the findings of our latest survey on representation in the art world, most were shocked. But artists were less surprised by than most; many of them live this reality every day. We asked a variety of creators and critics to respond to our survey, which found that just 11 percent of acquisitions at 30 U.S. museums were of work by female-identifying artists and only 2.2 percent were by Black American artists between 2008 and 2020.

Here’s what they said.

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In one of Deborah Kass’s best-known series, “The Warhol Project” (1992–2000), the artist uses the Pop artist’s celebrity portraits to address the lack of representation of Jewish people that she experienced growing up. “I had never seen a movie star that looked like Barbra [Streisand], which is to say that looked like me and everyone I knew,” Kass has said. Among the icons Kass granted the Warhol treatment are Streisand, Gertrude Stein (whom she turned into Chairman Ma as a wink to Warhol’s Chairman Mao), and Kass herself.

In 12 Red Barbras, 1993, Kass substitutes singer Barbra Streisand for Warhol’s repeating profile images of Jacqueline Kennedy. “I replace Andy’s male homosexual desire with my own specificity,” Kass explained. “Jew love, female voice, and blatant lesbian diva worship.”

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Billboards designed by artists Deborah Kass and Cleon Peterson for a “get out the vote” campaign in Georgia were rejected by two of the largest billboard companies in the United States, Outfront Media and Lamar Advertising.

The designs were spearheaded by the progressive advocacy group People for the American Way (PFAW), which will now display Kass and Peterson’s designs on mobile billboard trucks that will be dispatched throughout Atlanta. PFAW is also encouraging people to share the censored artwork by Kass and Peterson — as well as work produced by other artists such as Shepard Fairey and Carrie Mae Weems for the same campaign — on social media ahead of the upcoming midterm election.

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Yo! After several months and thousands of selfies since the installation of the monumental “OY/YO” sculpture at The Weitzman, we are excited to welcome the artist and creator back to the Museum for a special program.

Brooklyn-based artist Deborah Kass will sit down with her friend Thom Collins, Neubauer Family Executive Director and President of the Barnes Foundation, in the Weitzman’s Dell Theatre. Kass and Collins will discuss the roles of art on the streets, in civic life, and protest- here in Philadelphia and beyond. The duo will also explore how “OY/YO” and other modern works of art reflect on the values of specific cultures within American society’s larger landscape and the forces that divide and unite our community.

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America was our promised land but we might not be safe here anymore.

We thought it wouldn’t happen here. Yet we knew it could.

America was our promised land. For any American Jew alive now, America saved your family one, two, or three generations ago. Three of my four grandparents fled Ukraine (then Russia) and Belarus, sites of famous pogroms. My great-grandparents from my mother’s side fled Hungary. My father’s parents had accents so thick I could barely understand them.

Ancestors? Killed somewhere in Eastern Europe. My parents didn’t know them and my grandparents didn’t speak of them. If the Cossacks didn’t get them, the Nazis did. It was the same for every Jewish kid I grew up with in our insulated New York suburb.

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It’s easy to spot the Weitzman National Museum of American Jewish History these days. For the past six months, it’s been home to the eight-by-16-foot Lamborghini yellow “OY/YO” sculpture that sits outside its doors.

The sculpture has become a selfie destination and makeshift playground for young museumgoers, transcending its original purpose of exploring the multitudinous meanings of just two letters.

Deborah Kass, the artist behind “OY/YO,” is well aware of the sculpture’s changing meaning in its temporary Philadelphia home. On Oct. 27 at 8 p.m. at the Weitzman, she’ll discuss “OY/YO”’s evolution and the role of art in the growing landscape of antisemitism with Neubauer Family Executive Director and President of The Barnes Foundation Thom Collins.

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Longtime art patrons, social activists, and downtown Manhattan residents James Cottrell and Joseph Lovett grew their art collection based on their personal vision and vital friendships with artists—including Deborah Kass, whose paintings are currently on view at the Grey Art Gallery in Mostly New: Selections from the NYU Art Collection. Mostly New includes several works donated to the Grey by Cottrell and Lovett, who gifted over 200 artworks from their extensive collection of downtown New York artists.

Join Cottrell, Lovett, and Kass as they discuss their shared passion for art as an instrument of social change, the social experience of the dynamic downtown art scene in the 1980s, and their transformational gift in a lively virtual conversation hosted by the Grey’s director, Lynn Gumpert.

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This online exhibition features works donated by fifty artists to benefit Performance Space New York, and is available in tandem with a physical exhibition at the gallery’s 519 West 19th Street location. Organized by Ei Arakawa, Kerstin Brätsch, Nicole Eisenman, and Laura Owens, the show explores playful dynamics between painting and performance.

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Brand X Editions is dedicated to the fine art of experimental and traditional printmaking, publishing editions by some of the most significant artists of our time.

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Deborah Kass is a living legend whose unflinching honesty, scintillating wit, and tireless scrutiny of American sensitivities has helped transform the contemporary art field into a more open, empathetic, and inclusive domain. Kass knows firsthand how art affects and informs the construction of self, and how important it is to foster an aesthetic culture in which all people can locate themselves.

“So much of my art is about who does, and who can,” Kass says. “Identity is a noun. It is WHAT you are. It’s how you come out of your mother. But when you identify with something outside of yourself, it’s active. It's a verb. That's how you start constructing WHO you are as a subject, a person—internally, emotionally, spiritually—and imagining how you can be in the world. When I saw Barbra Streisand take the world by storm when I was a 12-year-old Jewish girl from Long Island, that meant I could do it, too! Now people say, ‘If you can see it you can be it.’ This is the very meaning of inspiration.

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Deborah Kass joined us in Andy Warhol: Revelation as the first subject of our new series, Reclaimed. The series explores the unique ways in which artists leverage their work to reclaim narratives of their lived experiences. During our conversation, Kass discusses her eight-year-long project inspired by Andy Warhol’s highly recognizable imagery, which aspects of Warhol’s life and artwork she finds most touching, and the continued role art plays in negotiating power and privilege.

Our Reclaimed series focuses on art as a tool to reclaim traditional narratives of lived experience. An effort to highlight and empower groups that have been left out, stigmatized, and misrepresented. Follow along for a celebration of our differences and stride towards collective healing and social progress.

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Yo, Philly!
Oy, Philly?
Soon, it might all depend on your perspective.
Literally.

The Weitzman National Museum of American Jewish History plans to install an 8-foot-tall, 16-foot-wide, “Lamborghini yellow,” “OY/YO” sculpture with the YO facing out toward Fifth and Market Streets in a welcoming Philly-style shout-out.

The OY will face the museum as if in a lighthearted wink toward the Yiddish word signaling exasperation, jubilance, grittiness, or struggle — depending on who is saying it, and how.

The Philadelphia Art Commission last week unanimously approved a temporary installation of the sculpture by the Brooklyn, N.Y.-based artist Deborah Kass, which museum officials hope will become permanent.

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The flat, pop-coloured shapes, the grids of familiar faces, the variations on a colour scheme; Deborah Kass’ early work has Warhol’s visual language running through its veins. But there’s a twist, an important one. Kass focused on the deft appropriating and reworking of signature styles of leading 20th-century male artists. Part searing critique, part homage, her interest was in confronting the glaring omission of leading women in art history, and in society more broadly.

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The instantly recognizable bright yellow OY/YO sculpture that first took up residence in front of the Brooklyn Museum in 2018 has been partially wrapped in a blue fabric as a show of support for the Ukrainian people. The art piece joins a slew of NYC landmarks that have been lighting up in blue and yellow in solidarity with the cause throughout the week.

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For years, Deborah Kass’s bright yellow sculpture OY/YO (2015) has been a popular landmark, perched in front of the Brooklyn Museum. Now it is a kind of protest monument. Kass has wrapped the letter O with blue fabric, making the piece the colors of the Ukrainian flag. The alteration aims “to show solidarity with Ukraine and its diasporic communities worldwide fighting for sovereignty and democratic freedom,” the Brooklyn Museum said on Twitter . Intriguingly, it added, “We thank the community member who reached out to the artist with this suggestion to activate our sculpture.” Here it is, below. [@BrooklynMuseum/Twitter]

Artist Deborah Kass leads a walkthrough of Andy Warhol: Revelation in this edition of Artist's Eye, our series of intimate, in-gallery talks by contemporary artists that engage our special exhibitions with fresh perspectives. Kass focuses on the intersections between identity, art history, and pop culture—her beloved sculpture OY/YO welcomes visitors to the Museum—and often plays with well-known imagery made by twentieth-century male artists. In 1992, Kass began appropriating the work of Andy Warhol by recreating groupings of his famous celebrity paintings with images of her own heroes, such as Gertrude Stein and Barbra Streisand. In this tour, she explores religion within the context of Pop art and shares about her engagements with Warhol’s body of work.

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Accompanying Carrie Mae Weems’ monumental exhibition, The Shape of Things, Land of Broken Dreams is a large-scale, multidisciplinary convening and concert series that will activate the Armory with a wide range of conversations, presentations, and performances featuring artists, poets, singers, dancers, thinkers, and scholars sharing work and exploring some of the most urgent issues facing society today.

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Though nearly all artists who pass through the School of Art at Carnegie Mellon University are infuenced by its most famous alumnus, Andy Warhol, only one has commandeered his approach to appropriation to rewrite the patriarchal narrative of art history. Across a varied practice that includes painting, sculpture, drawing, and printmaking, Deborah Kass’s work asserts that she—along with other female artists, creators, and intellectuals—deserve a prominent place in our shared cultural history.

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Chicago’s Kavi Gupta gallery sold Deborah Kass’s monumental 1997 work Seven Ghost Yentls (My Elvis) for $350,000 to a private Canadian museum. “We have received an incredible response from the global arts community in celebrating this crucial body of work from Deborah Kass,” Kavi Gupta, the gallery’s founder, said in an email. “We’re pleased to see that collectors are so enthusiastically embracing 2021.”

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Debbie Millman has started a new project at PRINT titled “What Matters.” This is an ongoing effort to understand the interior life of artists, designers and creative thinkers. This facet of the project is a request of each invited respondent to answer 10 identical questions, and submit a decidedly nonprofessional photograph.

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On March 11, 2020, the world changed. On that day the World Health Organization declared COVID-19 a global pandemic. As the sun rose, people shook hands and drank coffee with strangers; by sunset, offices, schools and churches began shutting down, while hospitals began filling up.

On June 6, the USF Contemporary Art Museum opened Life During Wartime: Art in the Age of Coronavirus. Its first major virtual exhibition, the show asked a select company of international artists to respond to the overwhelming realities of living through a global health crisis. Fifty-four artists answered the call. Each of their contributions, displayed on the museum’s dedicated digital platform, painted a picture of a world in turmoil, while also providing images of hope, humor, and optimism in the teeth of a planetary emergency.

As an epilogue to the exhibition, USFCAM engaged seven artists from Life During Wartime to contribute a single print to a benefit portfolio. Their work commemorates both the difficulties of living through a pandemic and art’s spectacular resiliency during times of crisis. The artists included here muscled through catastrophe. They are Sebastiaan Bremer, Jake and Dinos Chapman, Ellen Harvey, Mark Thomas Gibson, Deborah Kass, Hew Locke, and Narsiso Martinez. When things looked darkest they made art. To paraphrase Nobel Laureate Toni Morrison, that is how civilizations heal.

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Kavi Gupta is pleased to participate in Art Basel’s OVR: Pioneers—an online experience dedicated to artists who have broken new ground in terms of their aesthetics, conceptual approach, socio-political themes, or their use of specific media—with Deborah Kass: The Warhol Project. Kass’ Warhol Project cemented her as one of the most crucial voices for Feminist art in the 1990s. Adroitly recreating Warhol's signature style, Kass leveraged the cultural clout of the existing canon to challenge systems of power.

Beginning in 1992, Kass' expansive Warhol Project marked a landmark achievement for Post Modern Feminist art. Advances in Feminist painting during the 1960s and 1970s had been disrupted, in part by the masculine bravado of the Reagan era. Feminist artists pivoted towards mediums such as photography, printmaking, graphic design, and new media, with artists like Cindy Sherman, Barbara Kruger, and Jenny Holzer pushing boundaries. Wishing to use the new language of subjectivity developed throughout the 1980s to rekindle the potential for Feminist painting, Kass began appropriating recognizable styles from the contemporary canon, cleverly injecting it with her own narrative. Andy Warhol was a natural fit for the gesture, himself having appropriated photography for his signature screenprinted paintings. Kass carefully studied his techniques in order to emulate his style with incredible precision, deftly interjecting her own subject matter.

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The vertical text-based painting ​Just a Shot Away​, 2015, commands the entrance hall to Deborah Kass’s inaugural solo exhibition at Kavi Gupta, a mainstay of Chicago’s West Loop for nearly twenty years. Rendered across a variegated black ground, the stacked cerulean text is culled from the rock anthem “Gimme Shelter,” the opening track on the Rolling Stones’ 1969 album ​Let It Bleed.​ The graphically composed painting and its appropriated stanza set the stage for a scintillating collection of works that graft borrowed language—funny, banal, upbeat, and grim—onto Minimalist-inspired compositions with bright Pop flourishes. Kass’s eleven works here, made between 2008 and 2020, fill three capacious galleries with fields of saturated color, glowing neon text, and ambitiously sized canvases that toy with the aesthetics of ersatz spectacle and commercial glitz. Among the handful of sculptures on view is a scaled-down version of OY/YO,​ the punning public artwork in Big Bird yellow that made its debut in 2015 at Brooklyn Bridge Park in New York. It shares a space with an altered quote from Louise Bourgeois, fashioned from neon, that’s twisted into a Naumanesque spiral: A WOMAN HAS NO PLACE IN THE ART WORLD UNLESS SHE PROVES OVER AND OVER AGAIN SHE WON’T BE ELIMINATED. This depressing statement is dressed in candy-coated hues.

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For a year that is almost impossible to find the words to describe, there are an abundance of images that speak volumes. From Black Lives Matter protests to brazen museum heists, here are some of the most striking photographs of this topsy-turvy 2020.

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Kavi Gupta is pleased to present artist Deborah Kass and curator Naomi Beckwith in conversation on the occasion of Art Basel OVR: Miami Beach. The two will discuss Kass' exhibition Painting and Sculpture, currently on view at Kavi Gupta | Elizabeth St. Join us this Friday to hear from the iconic artist and curator on Zoom.

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“Regarding​Glee​ I would say two things: 1. It’s not like my work. It is my work; and 2. I
want to gay marry Ryan Murphy.”
– Deborah Kass

When Kurt and Blaine—the much-anticipated gay couple in Ryan Murphy’s ​Glee​— twinkletoed through an inevitably erotic rendition of “Baby, It’s Cold Outside,” I was in a dorm room filled with straight guys and their girlfriends who paid no attention to the emotional dénouement onscreen. I, however, was glued to the TV, watching their
handsome faces, their lithe bodies so unlike mine, their filmic love that, in that moment,
felt not like an imitation of life, but rather like reality. It was a reality that did not belong to
me (I felt and feel more like Deborah Kass’s ugly but kind turkeys after Monet) but a
world of possibility nevertheless opened up. I knew, we all knew, that this was coming
when Blaine crooned “Teenage Dream,” itself a favorite song of mine, for Kurt, but with snow floating through the air and rape-adjacent lyrics, the dream was finally consummated—problematically and beautifully.

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Perhaps you’re voting by mail this year. Millions of Americans are doing so, more than
ever before, and many of them for the first time. What these voters need is I VOTED
stickers. And so​New York, in partnership with​I am a voter, asked 48 artists to design
them. The cover of the October 26 issue of the magazine will be converted to a sticker
sheet, featuring contributions from Shepard Fairey, KAWS, Barbara Kruger, David
Hammons, Laurie Simmons, Amy Sherald, Baron Von Fancy, Marilyn Minter, Lorna
Simpson, Tawny Chatmon, Rico Gatson, Zipeng Zhu, Adam Pendleton, Adam J. Kurtz,
Zaria Forman, and many more. There will be four different covers, each with 12 stickers
— enough that each reader can wear a different one daily, from publication through to
Election Day.

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This week, just in time for the election, Art at a Time Like This and Save Art Space have installed 20 billboards by 20 artists around the five boroughs of NYC. You can find Marilyn Minter’s at W. 45th Street and 11th Avenue. The others are worth a bike ride through LIC and Brooklyn, or up Webster Avenue in the Bronx. (You can always take a break at nearby Arthur Avenue for Italian delicacies.) Or try a ferry trip to Staten Island. A map of all the locations and images can be found here. Traveling around to see these works is empowering, letting the imagination create an alternative campaign to those of politicians fighting for their appointments. It’s better than the dueling townhalls where one leader stirs the pot for a violent outcome to the election while the other calmly predicts a better-than-now future which is hard to believe. Of course, we prefer the latter, but no longer trust the polls.

This project reminds me of the early John Carpenter horror movie, They Live, where rebels have invented sunglasses that reveal the subliminal messages in advertisements, including billboards. We see the importance of the election in a new light by the juxtaposition of Guerrilla Girls BroadBand’s list of good reasons to vote for Trump, an enemy of federally funded benefits, beneath a sign promoting enrollment in a Medicare program. Or Deborah Kass’ Yo Vote, yellow letters on a bright blue background, that matches the colors of the ad for legal counsel just above. These artworks may not change minds, but offer to insert the point of view of artists into the political debate in our heads.

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Kavi Gupta is proud to announce the next chapter in the COVID-19 Mask Project, featuring Deborah Kass. Based on Kass’s large-scale painting Being Alive (2010), the limited edition ALIVE mask is washable and reusable and features two breathable polyester fabric layers with a bendable nose wire. Proceeds from the sale of the Deborah Kass ALIVE face mask will be donated to THE CENTER, offering the LGBTQ communities of New York City advocacy, health and wellness programs, arts, entertainment and cultural events, recovery, and parenthood and family support services since 1983.  

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Kavi Gupta proudly presents Deborah Kass: Painting and Sculpture, the gallery’s inaugural solo exhibition with the artist. Pairing a stunning new body of work with select historical pieces, the exhibition creates an unflinching examination of the American condition before and during the Trump presidency.

The canonized giants of Pop Art and Minimalism defined themselves by their opposition to each other: Pop Art could be anything; Minimalism was everything Pop Art wasn’t. However, as a young artist, Deborah Kass saw things differently. Pop and Minimalism were both equally radical. Her dual admiration, along with her commitment to examining the political climate of today, expresses itself abundantly in this show.  

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You say you want a revolution? The question, posited by the Fab Four on their iconic 1968 track “Revolution,” is nothing if not perennial. Evolution is inevitable. Revolution is humanity's response, and throughout history artists have been our messengers, questioning cultural mores and capturing societal unease with a poignancy and beauty that helps to unite, instead of divide.
 
Our very special ARS member artist and social activist, Ms. Deborah Kass, has long created works to express her politics, highlight social inequalities, and give voice to the voiceless. And Kass manages to do it all with a sense of humor and ease, literally spelling out positive messages in her text-based works and sparking joy with her cheerful color palettes and vibrant neons. 

The Beatles continued to croon, we all want to change the world. With an artist like Deborah Kass in our midst, we just might stand a chance.  

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ENOUGH of Trump​ features new, original pieces created specifically for the #ArtTheVote campaign, by a diverse group of prominent American artists including Ruscha, Carrie Mae Weems (who helped spearhead the project), Shepard Fairey, LaToya Ruby Frazier, Jeffrey Gibson, Mark Thomas Gibson, Deborah Kass, Christine Sun Kim, Takaaki Matsumoto, Amalia Mesa-Bains, Beverly McIver, Sam Messer, Alyson Shotz, Hank Willis Thomas, and Cayetano Valenzuela.

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Art at a Time Like This ​ and ​Save Art Space​ are looking for artists of all kinds to submit work to be considered for the public art project, ​Ministry of Truth: 1984-2020​, presenting artworks on billboards around New York City and on ​artatatimelikethis.com in October 2020.

Curated by Barbara Pollack, Anne Verhallen, and Jerome Lamaar, the exhibition will feature artwork that comments on the current state of U.S. politics and that stimulates dialogue about the increasing polarization of our society.

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For nearly five decades, feminist artist Deborah Kass has used Pop art techniques to explore the intersections between pop culture, art history, and the construction of self. Preceding the 2016 election, Kass declared her support for Hillary Clinton through a screen print, which utilizes her signature “appropriation” technique to mimic Andy Warhol’s 1972 “Vote McGovern” print. She has also clearly spoken out against Donald Trump, saying that “every day since his inauguration, Trump has worked to destroy the rule of law by declaring himself above it.”

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The Baltimore Museum of Art (BMA) has announced new acquisitions made
as part of its 2020 Vision initiative, which includes a commitment to
only purchase works by female-identifying artists this calendar year.
Among the highlights entering the collection are mixed-media sculpture
and paintings by Barbara Chase-Riboud, Oletha DeVane, Janiva Ellis,
Bessie Harvey, Suzanne Jackson, Mary Lovelace O’Neal, and Mary T.
Smith; video and animation by Nathalie Djurberg, Laura Ortman, and
Martine Syms; works on paper by Vivian Browne, Barbara Regina
Dietzsch, Wendy Red Star, Nellie Mae Rowe, Shinique Smith, and Gerda
Wegener; photographs by Delphine Diallo and Mariette Pathy Allen; and
design objects and textiles by Barbara Brown, Greta Grossman, Zandra
Rhodes, and the women of Gee’s Bend. The BMA has committed a budget of
approximately $2.5 million to the effort and will continue to make
announcements regarding new acquisitions throughout the year. In
addition to the purchases made as part of 2020 Vision, the BMA has
received gifts of works by Nancy Graves, Red Grooms, Deborah Kass,
Paul Klee, Kenneth Noland, and Georges Rouault, among others.

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“I use history as a readymade,” Deborah Kass has declared. “I use the language of painting to talk about value and meaning. How has art history constructed power and meaning? How has it reflected the culture at large? How does art and the history of art describe power?”

Most discourses around power and meaning today are—or should be—undergoing serious reconsideration. Theories of knowledge have bent to the breaking point. The combined weight of political instability, alternative facts, a growing rejection of science and the destabilizing effects of the Covid-19 pandemic, as well as the growing use of state violence, have mined the confidence of people around the world but of Americans especially.

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In 1972, Andy Warhol created “Vote McGovern​,” a political screen print for the Democratic presidential candidate, George McGovern. The work seems straightforward. Depicting Richard Nixon against a repulsive, high-pitched orange field, with green and blue skin and orange eyes, as if he were a vampire, the caption reads, “Vote McGovern.” The message was clearly understood by the IRS, which repeatedly audited Warhol’s taxes, causing him to keep the very detailed financial records described by Pat Hackett in ​The Andy Warhol Diaries (Warner Books, 1989).

Deborah Kass often tweaks modernist works. “Vote Hillary”​(2016), her political screen print for Hillary Clinton, uses an uninviting portrait of Donald Trump with the caption “Vote Hillary.” Long ago, when she was my student, Kass painted a copy of Eugène Delacroix’s ​Ophelia​. More recently, in reworking paintings by famous male modernists, she offers a feminist critique of artistic creativity. Some other distinguished contemporary artists have adopted this strategy — Elaine Sturtevant and Sherrie Levine, to name two. What’s distinctive about “Vote Hillary” is its political role. Only art students know the sources of some appropriations. But like all successful political art, “Vote Hillary”​ ​has a message that​ ​is immediately accessible.

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Deborah Kass takes in the world around her and distills it meaningfully into her artwork. This process was how she found her creative voice— using the language of art history as a starting point for her own expression. Her practice has spanned more than five decades across painting, photography, sculpture—even neon light installations. But her most recognized style is often a pop cultural spin on the artistic greats who came before her—from Eugèn eDelacroix and Pablo Picasso to Jasper Johns and Jackson Pollock. In both homage and critique, Kass’ paintings rewrite their work through her lens, infusing them with Disney cartoons, female artist icons, and texts on gender and identity.

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Art Matters is an ongoing series of conversations with innovators and icons of the art world, led by Arnold Lehman, Phillips' Senior Advisor and Director Emeritus, The Brooklyn Museum.

Riding off the success of our live panel series, ART MATTERS with Arnold Lehman, Phillips is pleased to present Art Matters @ Home featuring a new conversation between our own Arnold Lehman and a leading voice from the worlds of art and culture every week through Labor Day. A new episode will be released each Tuesday and can be enjoyed from the comfort of your own home or on the go.

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As part of our efforts to bring artists and ideas outside the gallery and into our community while the museums are temporarily closed, we are pleased to present the first of a series of conversations with leading contemporary artists.

In this edition, John and Jill Freidenrich Director of the Cantor Arts Center Susan Dackerman and visual artist Deborah Kass discuss her art practice leading up to the creation of OY/YO.

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Mixed media artist Deborah Kass (@debkass) shows us around her studio for our Weekend Journal #3. Kass shows us some works in progress and tells us about her inspirations for language and color, the music she’s listening to, and the political motivations driving her current work.

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Deborah Kass (born 1952) is an American artist whose work explores the intersection of pop culture, contemporary art, and the construction of self. Kass is a great lover of film, music, comics and other mass media, and a rigorous student of art history, and she considers all human creative endeavors as useful material from which to draw. Intersecting these different fields of cultural production allows for deconstructive examination of power, meaning, and value.

Says Kass, “I use history as a readymade. I use the language of painting to talk about value and meaning. How has art history constructed power and meaning? How has it reflected the culture at large? How does art and the history of art describe and reinscribe power?”

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This crisis started Nov 9 2016 and has not let up since when the FSB fixed an American election and installed Donald Trump. Every day our collective trauma and degradation continues. Everyday since his inauguration Trump has worked to destroy the rule of law by declaring himself above it. He has destroyed the administrative state by gutting every department that has kept Americans safe, firing experts with decades of experience and replacing them with cronies who have zero expertise or experience. The result is a pandemic. I still wonder when Americans will wake up the fact that Trump was installed to literally kill Americans. Maybe now? He has committed Crimes Against Humanity against men women and children who are not Americans. His treason and torture continue unabated. In fact, have now accelerated to point that made we might begin to call him what he is: the enemy. I so admire artists who can escape into their own process. I never have been that kind of artist.

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Kavi Gupta is proud to announce representation of iconic New York artist Deborah Kass.

Kass is known for her distinctive method of Pop Appropriation, which first gained prominence in the late 1980s with her Art History Paintings, a series which combined Disney imagery with snippets of paintings by contemporary artists such as Picasso, Jackson Pollock and Jasper Johns. Kass’ follow-up series, The Warhol Project, appropriated Warhol’s production methods, replacing his subjects with images of people influential to Kass, such as artists Cindy Sherman and Elizabeth Murray, Barbra Streisand in her role as Yentl, and, in the case of her Most Wanted series, art world influencers whose faces replaced those of the criminals in Warhol’s Thirteen Most Wanted Men series.

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IPPOLITA collaborates with artist Deborah Kass to create exclusive charms as a fundraising initiative with the Brooklyn Museum.

Deborah Kass is the second distinguished artist collaborating with Ippolita for the “Artist Charms” series. This exclusive collection was created in partnership with the Brooklyn Museum and features unique jewelry celebrating art and beauty, inspired by relevant contemporary art work. The line started in April 2019 with two charms inspired by Nick Cave’s Soundsuits. Now Ippolita has designed four charms to add to this series, all based on the OY/YO sculpture by Deborah Kass.

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The artist Deborah Kass, 67, whose sculpture “OY/YO” is installed outside the Brooklyn Museum, contributed a 2009 silkscreen edition, “Nobody Puts Baby in the Corner.” It will be on display at La MaMa’s Galleria, the biennial’s other venue. “I’ve been an artist in New York City my whole life, and I always wanted to be in a biennial in my hometown,” Ms. Kass said pointedly. “So why not this one?”

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Later this summer, another sculpture will stand as the permanent greeter beneath the Greek friezes and Roman columns at the Cantor museum’s historic entrance. The aluminum piece is a commissioned work by Deborah Kass, titled “OY/YO” — from the parking lot, it beckons with the word “YO” and when leaving, it reads “OY.” It stands 8 feet tall and 15 feet wide, and is painted Lamborghini yellow.

“We’re doing this because students find this facade intimidating and unapproachable,” Dackerman says. “This is a welcome.”

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In this yearlong activation, Brooklyn artists Brooklyn Hi-Art! Machine, Deborah Kass, Kameelah Janan Rasheed, and Hank Willis Thomas present their work in our public spaces—the plaza green, steps, and promenade outside and the lobby within—emphasizing the Museum as a civic space for conversation and learning. Through their text-based works, these artists use language, questions, and humor to engage topics ranging from national debates to local community issues, sparking dialogue around some of the most pressing questions of our time and inspiring us to listen, share with one another, and connect through art.

Brooklyn Hi-Art! Machine’s fence weaving, similar to those on view across the borough, sits on the promenade above the glass entrance pavilion in a direct entreaty to visitors that subtly questions neighborhood power dynamics. Deborah Kass’s vibrant yellow OY/YO sculpture seeks to evoke joy and unity in its playful monumentalizing of classic New York slang. Kameelah Janan Rasheed’s two site-specific installations use questions and prepositions to give voice to a sense of individual and collective identity in a time of upheaval. Hank Willis Thomas’s neon installation speaks out for love and compassion, despite personal pain and loss.

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OFF THE WALLis a highly visible and compelling platform on which the work of 13 significant artists can be experienced within the vibrant fabric of New York City. The title, OFF THE WALL, is inspired by two connected ideas; the artworks are physical extensions of the vibrancy within the walls of Hudson Yards, and the definition of this phrase signals what might be expected: the unusual, remarkable, and curious, that often incorporates a unique sense of humor. With the specific location of Hudson Yards in mind, all artworks relate back to the site’s past, present or future. The large scale pieces welcome interaction, and visitors who engage with the art simultaneously become their activators. By standing in an installation tableau, participating in interactive works, taking photos and sharing individual points of view, people of all ages and backgrounds organically build a Hudson Yards #OffTheWall community album.

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In the wake of the 2018 midterm elections, For Freedoms: Where Do We Go From Here? explores the role of art and visual representation in American civic life through the work of the For Freedoms collective. Founded in 2016 by Hank Willis Thomas and Eric Gottesman, For Freedoms is an artist-led platform that investigates how art and artists can help deepen public discourse and political awareness in the United States.

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“WarholxWhitney" 4 part video series discussing aspects of Andy Warhol's work produced in conjunction with the exhibition Andy Warhol A to B and Back Again.

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Hear about the life and work of collection artists Ross Bleckner and Deborah Kass in the context of LGBTQ+ history and Jewish identity in this conversation moderated by Eric Marcus, creator and host of the Making Gay History podcast. This program is held in partnership with the Stonewall 50 Consortium, which brings together cultural institutions to commemorate the 50th anniversary of the Stonewall uprising and the LGBTQ+ civil rights movement.

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PRESENTING: ART & QUEER CULTURE Lyle Ashton Harris Cary Leibowitz Deborah Kass Marlene Mccarthy

After decades in the art world, Deborah Kass has a hit. A major one. The type of beloved public artwork that you see endlessly on your social feeds, and brings a smile to your face whenever you encounter it. I’m talking about “OY/YO” (2015), the eight-foot-tall yellow sculpture that just landed at the Brooklyn Museum for an exhibition titled Something to Say.

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Finally over to Brooklyn, where a new sculpture is on hand to greet museum-goers so to speak. Deborah Kass is the artist - and her 'Oy/Yo' sculpture was installed in front of the Brooklyn Museum yesterday. The artwork reads as "oy" and "yo" on its different sides. Oy - gving a nod to the well- known yiddish expression oy vey. Along with yo reflecting both urban slang and the spanish word for "I" it's one of several works chosen to be a part of a yearlong public art activation. A museum official says the goal is to highlight the space as a place for conversations on civic issues. "It really is a work that speaks to unity, and to connectedness and really at a moment when there is so much divisiveness."

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Nothing in art is more powerful than color. From Monet and Matisse to Mark Rothko and Frank Stella, and onward to the huge Color Field canvases and pulsing neon sculptures of today, color as a means of expression is the keynote for this wildly exuberant show. Potent even to the point of being considered dangerous, it is the most exciting element of art, the strongest tool in the toolbox. “Color, above all, is a means of liberation,” Matisse declared.

The full range of color’s magic is on display in this exuberant show of over 100 works from the nineteenth century to this moment’s hottest talents. The roll call is a hit parade of art history’s most exciting names: Kandinsky, Motherwell, Warhol, Wolf Kahn, James Nares, Richard Diebenkorn, Joan Mitchell, David Hockney, and many more. It all begins with a monumental painting by Titian, considered the original champion of color in art, in a dramatic installation.

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Scenes From the Collection
The Jewish Museum, New York, NY

For the first time in 25 years, the Jewish Museum presents a major new exhibition of its unparalleled collection. Scenes from the Collection transforms the entire third floor with nearly 600 works from antiquities to contemporary art, many of which are on view for the
first time at the Museum. Art and Jewish objects are shown together, affirming universal values that are shared among people of all faiths and backgrounds.

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Debbie Millman interviews Deborah Kass
for her podcast Design Matters
November 20 2017

Debbie talks to artist Deborah Kass about her long and extraordinary career.

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OY/YO Acquired by Jewish Museum
Fall 2017

In honor of Norman Kleeblatt, Senior Curator's 40 years of excellence.

OCCUPY MANA: Artists Need To Create On The Same Scale That Society Has The Capacity To Destroy (Year 1)
Mana Contemporary, Glass Gallery
Curated by Phong Bui and Rail Curatorial Projects
OCTober 15 - DECEMBER 13 2017

A Rail Curatorial Project lead by Phong Bui of the Brooklyn Rail, this exhibition focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live. 

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The individual component of language—text—is the prime vehicle used to express the experiences of our existence—from minor moments of daily life to the grand nature of the human condition. Our ancestors as far back as the cave man have been using symbols to document and record experiences.

Today, the visualization of our personal stories is an integral and essential part of nearly every moment of life, and we use text in all of its forms to define reality, emotions and even time itself. We are now living in a world wherein the condition of our visual communication reflects the condition of our culture. Conceived and curated by designer, podcaster, and brand strategist Debbie Millman, this exhibition is an attempt to organize, express, translate and reflect both how we live in language and how language now defines our lives.

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We titled this pop-up shop Anger Management in order to highlight our response to, and our displeasure with, so many wrongs: the immigration ban; the attacks on the EPA; the continued violence against people of color, queer, gender non-conforming individuals, and religious minorities; the intimidation tactics of white supremacists and a blossoming Neo-Nazi movement (when we lost over 400, 000 Americans fighting Nazis and fascism abroad); and the rescission of labor rights and workers’ benefits. As conscientious individuals, anger seems like an irrational response, but at this stage, it is the most rational response that a progressive body may have. May these objects made by artists and designers for the benefit of charity allow civil conversations to prevail in environments fostered by love, acceptance, and UNderstanding.

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Pride of Place showcases a selection of 20th-century paintings, drawings, photographs and sculptures recently donated to NOMA by prominent New Orleans gallerist and art collector Arthur Roger.

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An American Man, Arthur G. Rosen 1996
Acquired by the Jewish Museum
May 2017

4 Black Barbras (The Jewish Jackie Series), 1992
Acquired by Brooklyn Museum
May 2017

Camouflage Self Portrait (Tutti-Frutti), 1994
Acquired by Brooklyn Museum
May 2017

Camouflage Self Portrait (Red), 1994
Acquired by LA County Museum of Art
January 2017

Cover of New York Magazine
November 14-27 2016