Cindy Rucker

Link on story and bio to read the essay -> Mondialisation and Mondialité: For a Museum of Errantry with Édouard Glissant by Cindy Rucker. @cara_the_org @cinrucker @edouardglissantartfund #cara #edouardglissant #artefuse #artblog #artessay

Mondialisation andMondialité: For a Museum of Errantry with Edouard Glissant at Center for Art, Research, and Alliances through May 10th We like to prescribe conditionality to things that exist in relation to each other by highlighting the likes and differences that exist in artworks and the concepts that drive them. The shorthand for this is curation, although the pedagogy of curation usually points to the assumption that knowledge flows in one direction: from the institution to the visitor. It is a pedagogy that presumes its own completeness; it knows what the objects mean, and its job is to transmit that meaning efficiently and categorically. The question this exhibition implicitly poses to its institutional context is: what would it mean to curate without claiming to know? Read the full essay @artefuse Thanks @cara_the_org for images #edouardglissant #cindyrucker #centerforartresearchandalliances #artefuse

Link on story and bio -> Henri Rousseau : A Study in Green at The Barnes Foundation, PA By Cindy Rucker @barnesfoundation @cinrucker #barnesfoundation #henrirousseau #artefuse

Link on story and bio -> Building on What We Have: Stephanie Dinkins’ If We Don’t, Who Will? Read the full review on artefuse.com Artificial Intelligence identifies patterns in datasets and makes predictions based on said datasets.[2] AI researchers have identified 3 categories of bias: algorithmic prejudice, negative legacy, and underestimation.[3] Algorithmic prejudice occurs when there isn’t enough racial data to make predictions, so it relies on geographic data shaped by decades of segregation and redlining. Negative legacy refers to language translations that associate female names with words like “weddings” and “family” while male names are associated with “salary” and “professional.” Underestimation happens when there is insufficient data to make predictions, so it relies on the cis white male data at hand, ignoring more than half the population. Stephanie Dinkins’ Public Art Commission piece If We Don’t, Who Will?, asks its viewers to volunteer their own stories, anecdotes, and lore as a resistance to discriminatory AI. Housed in a shipping container up-cycled by renowned architects LOT-EK, this interactive multimedia piece challenges the notion that we should continue to placidly accept the conclusions of a biased system and instead become active participants in helping shape the data that nourishes the machine. Article by Cindy Rucker . . @stephanie.dinkins @moreartnyc #artefuse #stephaniedinkins #morearr #art #aiart #contenporsryart

If We Don’t, Who Will? The Stories We Tell Our Machines: An Introduction by interdisciplinary artist Stephanie Dinkins exhibition review coming soon. #stephaniedinkins #lotek #moreart #ashlandplace #cindyrucker

« …sail through this to that » In this life as an artist, uncertainty and the complete unknown are places I know too well. Maybe that’s why I return to them again and again in my practice. with a kind of faith that the work is holding conversation where the languages I know begin to fade. It can feel joyful, serious, grief-filled, light and at times terrifying until it finds its entanglement. That moment where what began in solitude becomes something shared. Working with Cindy Rucker through my first sale in New York was one of those moments. A moment where what I made alone was met, witnessed, offered back in clarity and care. The work continues but this was a passage I won’t forget. I feel deeply blessed to have sailed this far with such guidance beside me. Aksanti @cinrucker @lot_ek 🧡 If you got this far, I’ll leave the entire poème by Lucille Clifton, whose words are blessing lullaby to me and grounded me in this morning’s reflection: blessing the boats by Lucille Clifton may the tide that is entering even now the lip of our understanding carry you out beyond the face of fear may you kiss the wind then turn from it certain that it will love your back may you open your eyes to water water waving forever and may you in your innocence sail through this to that

Link on bio and story -> Jack Whitten: Keep on Truckin’ at MoMA, NYC Read the full article by Cindy Rucker on Artefuse.com . . . . @hauserwirth @themuseumofmodernart @cinrucker #jackwhitten #themuseumofmodernart #moma #artefuse #artblog #artmagazine #artreview #museum

Jack Whitten, The Messenger at MoMA on view through August 2nd. Exhibition essay coming soon @themuseumofmodernart #moma #jackwhitten #artefuse #cindyrucker

Link on story and bio-> Caspar David Friedrich: God, Nature, and the Sublime at The MET, NYC Caspar David Friedrich: The Soul of Nature The MET February 8 through May 11, 2025 Article by Cindy Rucker . . . . @metmuseum #casperdavidfriedrich #artefuse #artmagazines #artreview #artblog #painting #classicalpainting

Caspar David Friedrich, The Soul of Nature on view at the Met through May 11th. Review coming soon #caspardavidfriedrich #metmuseum #19thcenturyart #landscape #romanticism #cindyrucker #artefuse #nolifedwellsherebutthatofaurandlight

Link on bio and story -> Language as (a) Movement: Christine Sun Kim at the Whitney Museum, NYC Artists are often credited with creating works that allow viewers to know more about themselves through shared experiences. The ability to hit upon a universality is a rare talent. That is why the work of Christine Sun Kim stands out. As a member of both the Deaf and Korean-American communities, her perspective comes from what disability arts scholar Simi Linton calls the “vantage point of the atypical,” meaning that an outside perspective can offer a more complete picture. Kim has navigated the world with a specific aural and visual identity. As a child in California, she was raised in a large Korean community, then while living in New York, she felt accustomed to its diversity. It wasn’t until Kim relocated to Germany that her otherness as a Korean person came to the fore. “Having moved to Germany and being an immigrant here, I see what they see. I’m perceived as Asian first and Deaf second. That’s been new to me and odd.” Read the full article on Artefuse.com -Cindy Rucker @cinrucker . . @whitneymuseum @chrisunkim #whitneymuseumofamericanart #whitneymuseum #christinesunkim #artefuse #artmagazine #artreview #artmag