2016 News Coverage

Time Out: 28 exciting openings in Chicago in January (December 29, 2016)

"The Block Museum presents newly-commissioned work by "Kader Attia," which compares Western and non-Western approaches to history and tradition." - Grace Perry

Chicago Tribune: Winter preview: 10 art shows not to miss (December 28, 2016)

"The largest collection of Africana in existence is sure to generate a provocative response from Attia, who in past installations has used materials ranging from couscous to foil and carved wood in response to histories of slavery and xenophobia." - Lori Waxman

Chicago Reader: Where progress was made in 2016: in Chicago's museums (December 28, 2016)

"Tseng's work would probably be categorized as pop art, but he isn't particularly well-known, and his output, mostly pictures of himself dressed in a Maoist uniform, is far more radical than what was in the Art Institute or MCA surveys." -Tal Rosenberg

El Pais: Moorman, chelista camuflaga (December 9, 2016)

"La exposición arrancó en la North­Western University, en cuya biblioteca se conserva buena parte del archivo de Moorman, y a través de las partituras de Cage o Morton Feldman anotadas por la artista, de fotos, artefactos, programas…, el espectador puede reconstruir la trayectoria de este personaje asombroso y de la escena neoyorquina de los sesenta. [The exhibition started at NorthWestern University, in whose library a large part of the Moorman archive is preserved, and through Cage or Morton Feldman scores annotated by the artist, of photos, artefacts, programs ... the viewer can reconstruct the trajectory of this amazing character and the New York scene of the sixties.]" -Estrella de Diego

Artnews: Breaking the Sound Barrier: Cellist Chalotte Moorman's Avant-Garde Actions Remain Provocative (December 8, 2016)

"A Feast of Astonishments” offers Moorman the spotlight she has so long deserved." -Alex Greenberger

New York Times: The Best Art of 2016 (December 7, 2016)

"Many of the year’s best shows were of art by women, including this one devoted to Charlotte Moorman (1933-1991) at New York University’s Grey Art Gallery." -Holland Cotter and Roberta Smith

Footnotes Magazine: The Artist in Africana (December 5, 2016)

"In a library reception after his second visit, Attia shared his enthusiasm for the Northwestern collaboration before a crowd of about 40 faculty, staff, alumni, and arts supporters. 'For an artist there is nothing more exciting than being in a library,' he said. “On your way to the location of one book, you look around and find books that are even more useful.'"

Chicago Tribune:  Artist photographed in Mao suit proved to be a cultural standout (November 30, 2016)

"These photographs have nothing to do with the selfies of today, which are all about branding oneself. They are performances for the camera that make knowing use of the world around it, a world of cultural and political meaning nearly impossible for any single person to change — but always available to make art with." -Lori Waxman

Northwestern Magazine: Poster Collection Celebrates 50 Years of Iranian Film (November 29, 2016)

"The exhibition also includes posters for nationalist films expressing the trauma of the Iran-Iraq War; films directed by and starring women that critically explore their representation on screen; and more contemporary films that examine post-revolutionary Iranian society."

artnet: The 50 Most Exciting Artists in Europe Right Now: Part I (November 23, 2016)

"Attia’s explorations of the impact of Western culture and colonialism this year nabbed him the Marcel Duchamp Award and a show (alongside the final four nominees) at the Centre Pompidou in Paris. Next year sees solo outings at MCA Sydney, and The Block Museum in Illinois, and gallery shows in NY and San Gimignano." –Hettie Judah

The Arkansas Times: Don't throw anything out - The Legacy of Charlotte Moorman (November 17, 2016)

"This was missionary work. Her art and, arguably, her beauty allowed her to move through the world like a double agent, someone who satisfied people's strict expectations and also messed with them, someone who understood that her effect on people was the best card in a crummy hand. Which is to say, a woman. And especially a woman then. Performance was perfect for her. Metaphors, props, masks, roles: All these exploded the limited range of a proper Southern lady." –Lauren Puchowski

WhiteHot Magazine: A Long-deserved Close Look at Alison Knowles, First Lady of Fluxus (November 2016)

"The Bean Garden (1976/2016) is an amplified wooden box allowing visitors to experience beans with their bare feet and experiment with their sonic possibilities in the process. The piece first premiered at Charlotte Moorman’s Avant-Garde Festival in 1973 and has been recreated many times since, most recently for Moorman’s touring retrospective organized by the Mary and Leigh Block Museum of Art at Northwestern University.” -Lauren Fulton

Guernica: Charlotte Moorman Exposed (November 15, 2016)

"There are so many parts and so many details in each piece, coming at one another from different directions, clashing and smashing. This is art intended for everyone, not just for the elite…Through videos and films, black and white photography, scores, costumes, objects, and music, the exhibit conveys the sprawling scope of Moorman’s work and the Avant Garde Festivals.” -Roslyn Bernstein

Crains Chicago Business: The 52 Must-Do Events in Chicago This Season (November 7, 2016)

"War, racism, xenophobia and acts of remembering are poetically explored in this group show, which re-examines historical events—such as Japanese-American internment camps, Native American boarding school experiences and violence against African-Americans—that resonate with current concerns."

Daily Northwestern: Artist exposes his life to resist FBI, talks intersection between art, engineering (November 1, 2016)

Susy Bielak, Block’s associate director of engagement and curator of public practice, said Elahi was a great first speaker for the series to explore art in the context of engineering. “Part of the work that we do at the museum is build connective tissue around the University and between the campus and civic life,” she said. “The artists who we’ve selected to come here have the kind of curiosity, vision, insight that again is that point of simultaneity between artistic practice and engineering.” -Yvonne Kim

New City: Best of Chicago 2016 - Best Avant-Garde Ressurection (October 27, 2016)

"Famously displaced by the influences of neoliberalism that made anything-goes the watchword of today’s art world and its markets, the strain of performative avant-gardism that Moorman championed, and helped create, is enjoying a long-overdue reexamination. At a tipping point in its historical back-and-forth between art and commerce, the art community’s current self-reflection owes much of its newly rediscovered conscience to the Moorman exhibit." - Brian Hey

Chicago Reader: Karl Wirsum, a film about one of the founding members of the Hairy Who and the Chicago Imagists, has been restored (October 21, 2016)

"Often we see artwork as a finished product in the form of an object shielded behind museum glass...but it's uncommon that we get the opportunity to peek inside an artist's laboratory and witness work being forged in the present tense. Suzanne gives us that rare window into Karl's practice and process."  - Leah Pickett

Chicago Tribune: East Meets West in Tseng Kwong Chi's early selfies exhibit (October 20, 2016)

"Is he a visiting Chinese dignitary, or merely a sly, teasing social commentator? A major exhibit of Tseng Kwong Chi's photographs at Northwestern University's Block Museum of Art invites viewers to make up their own minds about his status and motives." - Louise Burton

The Log Journal: Sound and Vision - Charlotte Moorman's New York (October 17, 2016)

"The show, concise and smartly organized, is crammed with brash artworks, sophisticated scores amended extensively in Moorman’s hand, vintage television footage, and copious images of Moorman and her extended community – most by the celebrated photographer Peter Moore. You get the sense of a serious artist on a mission, as well as a woman bursting with life, humor, and joy, all of which makes the show’s more somber turns – a cello sculpture Moorman fashioned out of her used syringes; a video of a late, private performance of Yoko Ono’s Cut Piece, in which anguish and serenity seem to play in impossible counterpoint on Moorman’s face – all the more gripping." - Steve Smith

Village Voice: Charlotte Moorman's Electrifying Avant Garde Cello (October 12, 2016)

"The greatest performers are those with not only the sharpest chops, but also the openness, the generosity, to give themselves over to the vision of another. Far from being a selfless act, however, performance requires an abiding self-possession as that self receives, and imparts, ideas as a spirit medium would: into the mind, and through the body." -Jennifer Krasinski

Art Daily: Block Museum presents first major retrospective of artist Tseng Kwong Chi (October 12, 2016)

"Though recognition for Tseng’s work in the west may have been eclipsed by his early death from AIDSrelated causes at the age of 39, his work has played an important role in the development of contemporary Chinese art. In the 1980s artists such as Ai Weiwei, Zhang Huan, and Song Dong, learned about Tseng’s photographs through American art magazines, and his photographs have been and continue to be significant touchstones for a new generation of contemporary Chinese art photographers."

North by Northwestern: Exhibit at The Block Museum Explores the Power of Communal Mourning (October 11, 2016)

"It is this singular line that seems to encapsulate the entire exhibit in a succinct idea: that art is, in essence, the closest a physical item can be to a part of human soul. This idea rings true throughout the exhibit. For if it is the human soul that makes something art, then one could look at the Victorian Era relics as works of art. Likewise, the humanity of the AIDS era pieces create works unlike that of any of its predecessors." - Danielle Cohen

FNews Magazine: ‘Keeping the Shadow’ of the AIDS Crisis at the Mary & Leigh Block Museum (October 10, 2016)

"It seems that the goal of “Keep the Shadow” is to feel the heaviness of death and the light celebration of life, as communicated at the beginning of the exhibition in a quote by David Wojnarowicz: “I have loved the way memorials take the absence of a human being and make them somehow physical.” It may be up to the individual as to whether or not “Keep the Shadow” is a memorial according to Wojnarowicz’s definition, however, the show is successful at bringing together, and juxtaposing, a collection of important and aesthetically rich works of art." - Ally Pockrass 

Daily Northwestern: Block Museum exhibit, film series look at Iranian history (October 6, 2016)

"The exhibit and film series should leave the audience the lasting impression of the attention Iranian filmmakers give to the art of filmmaking and production, Naficy said. He added the art house genre put Iran on “the map of world cinema” and presents the nation in a way that is not typically portrayed by the U.S." -Hayley Krolik

Medill Reports Chicago: Newly Opened Tseng Kwong Chi Retrospective Highlights The Power Of The Selfie (October 5, 2016)

"Tseng Kwong Chi’s brief career illustrated the disruptive power of the portrait, and the work featured in Performing for the Camera is the summation of that vision. Whether you find yourself smirking at the image of Tseng leaping in front of the Brooklyn Bridge or posing with a perplexed Nancy Kissinger, or whether you angrily scan the faces of the men who had just filled out their draft information, the exhibit proves one thing.  A portrait is far more than just documentation of a moment in time." - Grant Rindner

North by Northwestern: Tseng Kwong Chi Exhibit opens at the Block Museum (October 5, 2016)

"The Block Museum’s decision to feature Tseng is a conscious effort to resist mainstream invisibility of Asian American artists, and to insert Tseng’s distinctive wit and perspective into larger discourse of race and American-ness." - Stacy Tsai

Art Newspaper: Fluxus is alive and well at New York university galleries (September 30, 2016)

"The career survey comprises interviews, photographs, rare footage from the avant-garde festival that she founded in 1963, and a film lent by Yoko Ono that shows Moorman performing Ono’s Cut Piece (1964) in 1982 from the roof of her Manhattan loft after she was diagnosed with cancer." -Gabriella Angeleti

Bad at Sports: Top V Weekend Pick (September 29, 2016)

"Let’s consider our relationship with the recent past as it changes into something to ask about, something that’s reducible, relatable, and metaphorical. Let’s consider how it can be found so easily on the walls of a space that has been designed just for the purpose of its understanding. Let’s also consider the objects that we share in time and the ephemeral whimsy that transforms them into something more and different than what they once were. Let’s consider the Top V."

WBEZ Worldview: Weekend Passport (September 20, 2016)

"I was surprised at the depth and the breadth of what was going on at the Block Museum of Art this Fall.... There are people who think of Iran as a conservative, religious society. They get shocked when they see the vivid posters of the '50s, '60s and 70s.” -Nari Safavi and Jerome McDonnell. Conversation starts at 01:00.

Chicago Reader: Tseng Kwong Chi, downtown New York’s photographic ambassador (September 29, 2016)

"Performing for the Camera" is in some respects a companion piece to "A Feast of Astonishments," an overview of avant-garde performance artist and cellist Charlotte Moorman that ran at the Block during the first half of 2016. Both exhibits address the work of relatively overlooked 20th-century New York City artists (and NYC transplants). Both are single-subject shows that furtively incorporate the work of significant collaborators: in Moorman's case, video-art pioneer Nam June Paik; in Tseng's, Keith Haring." - Tal Rosenberg

Shadow and Act: The Ultimate Blaxploitation Film "Three the Hard Way" at Northwestern University (September 26, 2016)

"And when it comes to Blaxploitation films, I’ve always strongly believed that the ultimate, most ambitious and most perfect example of the genre, was Gordon Parks Jr’s 1974 film “Three The Hard Way”. It’s a wild, loopy, illogical, James Bondian action adventure, with a great premise, that no Hollywood studio would have the guts to make again today." - Sergio Mims

Time Out Chicago: The three best things to do today in Chicago (September 20, 2016)

“Salaam Cinema! 50 Years of Iranian Movie Posters” is totally worth the trip up to Evanston. Even if you’re unfamiliar with Iranian cinema, this collection is stunning in and of itself."

The Art Newspaper: Three to See New York (September 15, 2016)

"Last week, the Grey Art Gallery at New York University opened A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-80s (until 10 December), a look at the work of this musician and performance artist. New York is an appropriate place for the show, which travelled from the Mary and Leigh Block Museum of Art at Northwestern University (its organiser), since many of the 15 avant-garde festivals Moorman organised between 1963 and 1980 were held in the city. The importance of these festivals and Moorman’s own work is explored through sculptures, videos, photographs, costumes, musical scores and other archival materials." 

Chicago Magazine: Five Great Things to Do This Week in Chicago (September 15, 2016)

"This relentlessly inquisitive photographer died young at 39, but left a body of over 100,000 images—mostly of New York’s hip downtown scene, including portraits of Warhol, Haring, and Basquiat in their studios. Not just a documentarian, the artist also showed his identity on film as a gay Asian immigrant adapting to the tumultuous 1980s."

Art F City: The Topless Cellist Finally Gets Her Due At The Grey Art Gallery (September 14, 2016)

"A Feast of Astonishments puts Moorman into her rightful spot in Fluxus art history as a powerful collaborator and bold avant-garde performance artist. The hope is that subsequent exhibitions on this era of performance art will follow suit." - Emily Colucci

Financial Times: Charlotte Moorman New York exhibition: a spirit of unruly innovation (September 14, 2016)

"Her cheery manner belied the grit of a prizefighter; her spectacular performances heralded an age of women’s defiant freedom. Moorman made no such claims for herself. She was far more interested in exploding artistic conventions than in political struggle. She was an equivocal figure, poised at the precipice of feminism. While some women were burning bras, she made one sing." - Ariella Budick

Musical America: Avant-gardist Charlotte Moorman Celebrated in Style in NYU Exhibition (September 12, 2016)

At the Block, A Feast of Astonishments, which filled most of the museum's two-story gallery  space, was exhilaratingly immersive. Though logically organized into ·· four sections-The Early Years, Repertoire, Moorman Abroad, and The Avant Garde Festivals-its 330-some items offered a dizzying mix of video, photos, posters, costumes, letters, and musical instruments. - Wynne Delacoma

New Yorker: The Legacy of the "Topless Cellist: (September 12, 2016)

"Her vast influence on contemporary performance, not to mention the epoch she helped to define, has found a home in the necessary exhibition “A Feast of Astonishments." - Hilton Als

New York Times: Charlotte Moorman, Tradition Disrupter, Is the Focus of Two Shows (September 9, 2016)

"After her death in 1991, at 58, the mainstream art world largely forgot her, or pegged her as a decorative accessory to the work of Nam June Paik, with whom she often collaborated. But with the arrival of a superb biography, by Joan Rothfuss, in 2014, and now these two shows — which come from the Mary and Leigh Block Museum of Art at Northwestern University, where a vast Moorman archive resides — the days of forgetting and misperceiving are over, and a foundational 20th-century art figure is revealed." - Holland Cotter

Artforum Online: Must See New York (September 9, 2016)

“A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s,” a long overdue retrospective of this Julliard-trained radical’s vision through documents, objects, and so much more—which opened at the Block Museum of Art at Northwestern University, and draws on materials from the school’s Charlotte Moorman Archive—will only aid in cementing this major artist’s contributions to history."

Chicago Reader: 10 Best Bets for Fall Movies (September 7, 2016)

"Blaxploitation fans, take note: the Block Museum of Art will welcome venerable football great and movie badass Fred Williamson to talk about his screen career and introduce his 70s action flicks Bucktown and Three the Hard Way." —J.R. Jones

ArtNews: 9 Art Events to Attend in New York City This Week (September 6, 2016)

"But more than simply being an expert collaborator, Moorman was an original, and this show rightfully gives her the spotlight she deserves. On view here will be sculptures, videos, documentation, and scores related to Moorman’s performances."

Artsy: Charlotte Moorman Is Finally Remembered as More Than “The Topless Cellist” (September 4, 2016)

"Moorman’s endless experimentation with sound and the body pushed not only avant-garde art, but also feminism, into new, generative places." - Alexxa Gotthardt

Chicago Reader: 10 Best Bets for Fall Visual Arts (September 2, 2016)

“Photographer Tseng Kwong Chi was born in Hong Kong and participated in the downtown Manhattan art scene during the 1980s. This biographical information is reflected in his work, primarily photographs he took of himself in a Maoist uniform standing in front of such famous landmarks as the World Trade Center and the Statue of Liberty. The first major solo exhibition of his output includes rare archival material.” – Tal Roseberg

Time Out Chicago: 46 Exciting openings in Chicago in September (August 29, 2016)

“The Block Museum hosts the first major retrospective of Hong Kong-born photographer Tseng Kwong Chi, displaying his performance-based photos in "Performing for the Camera." – Grace Perry

Chicago Magazine: 58 Things to Do in Chicago in September (August 29, 2016)

“This relentlessly inquisitive photographer died young at 39, but left a body of over 100,000 images—mostly of New York’s hip downtown scene, including portraits of Warhol, Haring, and Basquiat in their studios. Not just a documentarian, the artist also showed his identity on film as a gay Asian immigrant adapting to the tumultuous 1980s.” - Jason Foumberg

Time Out Chicago: 9 Art Gallery Exhibitions to See in September (August 26, 2016)

“80 pieces will be shown in influential photographer Tseng Kwong Chi’s first major solo museum exhibit, spanning a collection of photographs that explore pop culture, politics, and other social issues in smart and humorous ways.” – Jenny Lam

Crains Chicago Business: The 32 Must-Do Events in Chicago This Fall (August 2016)

“Last year, Omar Kholeif moved stateside to take a senior curator role at the Museum of Contemporary Art in Chicago after working in London at the Whitechapel Gallery and at the U.K.’s national center for film and video art. Kholeif’s influence will be felt at the MCA this December with a photography exhibition by Egyptian-born artist Basim Magdy, and he’s organizing the spring show “Eternal Youth.” Here’s where he’ll be seeking inspiration this fall, starting with Tseng Kwong Chi's “Performing for the Camera” at the Block Museum in Evanston. “His photographs present a wry social commentary that feels more relevant than ever in our click-happy, Instagrammable world.” – Cassie Walker-Burke

ArtSlant: These Chicago Curators Are Expanding the Cultural Conversation from the Inside Out (July 11, 2016)

“These women are using curatorial practice to make their local work relevant and meaningful in the global context of contemporary art. Their work of affirms that Chicago’s visual arts scene can be nimble, vibrant, and global rather than merely stifling or difficult. By working within the institutions that make up the city’s cultural infrastructure, Dees, Umolu, Beckwith, and Gilbert have been able to alter the ways in which that infrastructure functions, in turn increasing the institution’s effectiveness as a steward of culture and history.” - Lee Ann Norman

Financial Times: Political Art: Kader Attia at the Museum für Moderne Kunst, Frankfurt (July 8, 2016)

“'I was fascinated by how in traditional societies, not only Africa, but also Japan and the west before modernity, when a broken object was repaired, the repair process always kept the trace of the injury,' [Attia] explains... But while traditional societies repair objects to give them a new life, often incorporating elements of European culture in the process — he shows me a Berber necklace dotted with French francs — the western approach is to discard objects that are damaged, valuing only originals in pristine condition. For Attia, repair has become a metaphor for cultural reappropriation, and resistance." - Jane Ure-Smith

F Newsmagazine: Art and Academia Perform “in the Present Tense” (May 23, 2016)

"'There was a constant conversation. We were enmeshed.' ... Bielak’s and Graham’s quote speaks to what I found while in attendance. The entire event enmeshed art practice with academic inquiry. While the event itself was short, consisting of performances and conversation on the first evening, followed the next day by presentations and panel discussion, the scope of the content of the symposium was substantial." - Katie Morris

The Northwestern Chronicle: Cello Performance Shatters Conventions (May 20, 2016)

"'I make noise…' reads Okkyoung Lee’s twitter bio, and right she is. Lee’s avant-garde, experimental cello improvisation literally shook the structure of the Mary and Leigh Block Museum earlier this May." - Lauren Place

Daily Serving:  A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s at the Block Museum of Art (May 5, 2016)

"Demonstrating that Moorman was more than simply a prop for the development of Paik’s impressive, psychedelic, yet heterosexist experiments in video/performance art and avant-garde music, this exhibition presents the tension between issues of gender, agency, authorship, virtuosity, and performance." - Anna Kryczka

F Newsmagazine: Remembering Charlotte Moorman (May 2, 2016)

"Her interviews and notes skillfully create the sense of Moorman’s magnetic personality. One gets to know Moorman through her archive — a curatorial accomplishment that also doesn’t overwhelm those who come to the exhibition for other interests, such as seeing the work of other artists included in the collection." - Kate Morris

Artforum: A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s (May, 2016)

"[The curators argue] that Moorman’s adherence to certain conventions of both classical performance and Southern femininity—her predilection for makeup and full-length evening gowns—served as a counterpoint to the radicalism of the scores she performed, and that her appearances in various states of undress can be interpreted as calculated disruptions, intentionally provocative gestures delivered for maximum effect and maximum publicity." - Jacob Proctor

Windy City Times: Gay artist and noted historian hold talk at NU (April 26, 2016)

"The Mary and Leigh Block Museum at Northwestern University presented a discussion and question-and-answer session with noted avant-garde artist, professor and influential Fluxus Movement member Geoffrey Hendricks and noted art historian/author David Getsy. The event—in conjunction with the ongoing exhibit "A Feast of Astonishments," also at the museum—looked at the Fluxus Movement in the 1970s and how Hendricks, who came out at the start of that decade, expressed his new and evolving sexual identity through his art, which was unheard of at the time." - Vern Hester

Art in America: Author of Astonishment: Charlotte Moorman at the Block Museum (April 18, 2016)

"The kaleidoscopic cycling of artistic partners, works, and performance events throughout the exhibition reveals that one of the most vital aspects of Moorman’s practice is also the cause of her historical neglect: a genius at orchestrating the brilliance of others, Moorman’s legacy could gain no foothold in art-historical frameworks that insist on articulating avant-garde gambits in terms of seminal gestures and individual genius. A Feast of Astonishments is an encouraging sign that this may finally be changing." - Lauren DeLand

New Art Examiner: A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s (March/April, 2016)

"The Block asks visitors to take Moorman as seriously as she took herself, that she did not fall back into irony. Moorman was so fluid in these pieces, constantly opening herself up as a performer. Throughout, she was always herself, a classically-trained musician carving out genuinely new notes for both herself and the avant-garde." - Rachael Schwabe

The Inquisitr: Avant-Garde Cellist Charlotte Moorman Revisited in Two Exhibits (April 4, 2016)

"Moorman was not only a fixture in the world of avant-garde art, she was its emissary to mainstream media and pop culture. She took an active role in commanding the nature of her work, pushing herself and her colleagues to raise their visibility from New York's loft art culture to venues that guaranteed wider audiences and relatively greater commercial success." - Skinner Bachs

Art in America: The Sight of Her (April 1, 2016)

"Years ago, Schneemann worried that Moorman's personal and communal achievements would go underappreciated, leaving questions such as those posed by a young Zeena Parkins unanswered, preserving only an image in place of an archive. Thanks to the redemptive labor of Rothfuss's Topless Cellist and the team of curators and writers behind 'A Feast of Astonishments,' we have new opportunities to reflect upon Charlotte Moorman's legacy, to argue about her impact, to listen to the sounds she made and to look again, with gratitude, at the sight of her." - Drew Daniel

The Guardian: Charlotte Moorman: Chicago exhibit reveres avant garde's renegade cellist (March 30, 2016)

"What perhaps best serves this retrospective's painstakingly astute sifting under curators Joan Rothfuss and Scott Krafft is an acknowledgement of the opposition her work consistently presents of reductiveness to any kind of co-optation, an opposition built into the work's ephemeral, embodied modes that gave it such crucial value at the start of the dematerialization movement in art among Moorman and her contemporaries." - Michael Workman

Hyperallergic: Returning “Topless Cellist” Charlotte Moorman to Her Rightful Place in the Avant-Garde (March 17, 2016)

"The archive not only offers a glimpse of Moorman’s personal life, it also demonstrates her clear links to other luminaries of the time and her tireless efforts to promote avant-garde work in New York City and beyond. This naturally leads to a question — thequestion — around which the main exhibition is organized: Why are Charlotte Moorman’s contributions to the postwar art and performance avant-garde so underappreciated and relatively unknown today?" - Dana Basset

Chicago Tribune: The Brilliance of Moorman on View at the Block (March 10, 2016)

"The Block has done a thrilling job, mounting a show that feels like a cross between an archive and a multimedia spectacular." - Lori Waxman

Artforum.com: Critic's Pick - A Feast of Atonishments (March 4, 2016)

"Amid a generation of artists experimenting with the fusion of art and life, Moorman truly lived this ideal, and the main triumph of “A Feast of Astonishments” lies in demonstrating Moorman’s success at connecting the fringes of the avant-garde with the general public, and in doing so itself." -Thea Nichols

Art21 Blog: The Sensation of Un-thought Thoughts - An Interview with Simone Forti (March 1, 2016)

"The combined effect of her conversation and this tableau captured the fluidity of Forti’s career, as she flowed effortlessly between spoken language, embodied movement, and introspection." - Caroline Picard

Medill News Service: Charlotte Moorman: Shattering Barriers Between Art and Technology (February 24, 2016)

"Audio and video inundates the visitor with an aggressive hum of mismatched sounds from a woman’s voice to classical music to a tension-igniting crash. Your eyes bounce from television screen to television screen, displayed throughout the gallery as integral to the works of art." -Elizabeth Bacharach

Huffington Post: The Untold Story Behind the Legendary 'Topless Cellist' (February 22, 2016)

"While today she may have identified as a performance artist, Moorman was really an eternal collaborator, sliding between art trends and stamping her projects with an indelible essence." -Priscilla Frank

New City: Eye Exam: Charlotte Moorman's Network for One (February 11, 2016)

"While we may view A Feast as exhibiting the origin points for the oversaturated artist network, we can also see a testament to the bright spots of such endeavors: championing art and friendship for the pursuit of something radical." -Chris Reeves

Northwestern Press Blog: Five Questions With the Author: Corinne Granof and Laura Wertheim Joseph (February 10, 2016)

"Our goal in preparing the materials for this exhibition was to convey the collaborative nature of the artistic activities to which Moorman contributed, while still representing the history in a legible way. We made clear, for example, that Cut Piece was an instructional piece created by Yoko Ono, but we also accounted for the ways in which the instructions allowed for Moorman to adapt it to her own ends." -Laura Wertheim Joseph 

Wall Street Journal: 'A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s' Review  (February 1, 2016)

"The cellist Charlotte Moorman (1933-1991) was an intrepid performer who was central to avant-garde culture in New York during the 1960s and ’70s—the “Jeanne d’Arc of New Music,” the composer Edgard Varèse dubbed her—even if many weren’t sure how to evaluate her talents." -Richard B. Woodward

North by Northwestern: Block Museum celebrates "life as art" with new exhibit centered on avant-garde trailblazer Charlotte Moorman (January 26, 2016)

"As an art exhibit, A Feast of Astonishments is indisputably unconventional. It relies not just on static pictures or audio clips but also on testimony, memorabilia, and the kind of compulsive documentation Baby Boomers berate Snake People for. But to chronicle the art – and thus, the life – of Charlotte Moorman, nothing but the unconventional would do her justice." -Stacy Tsal

Chicago Reader: Avant-gardist Charlotte Moorman finally gets the recognition she's due (January 25, 2016)

"Artists' retrospectives often tend to reinforce the mythology of isolated genius. A Feast of Astonishments, by contrast, is a portrait not just of Moorman but of the community she enlivened and the inner life that was her longest-running performance." -Sasha Geffen

WBEZ: Charlotte Moorman Comes to Block Museum (January 19, 2016)

"Granof and her fellow curators say the goal of opening the archive is to bring a deeper understanding of the artist, so she’s known for more than that one infamous performance." -WBEZ91.5 

Chicago Sun Times: Charlotte Moorman Exhibit a Superb Study in the World of the Truly Avant-Garde (January 19, 2016)

"Fascinating and thoroughly researched, (A Feast) will no doubt stand as one of Chicago area’s most important art offerings of the year." -Kyle MacMillan

Slipped Disc: Naked Cellist Gets the Show of Her Life (January 15, 2016)

"I have written a few times about Charlotte Moorman, a livewire of the 1960s New York avantgarde who, along with her friend Yoko Ono, placed her naked body at the centre of her performing art." -Norman Lebrecht

WTTW: "Topless Cellist" Charlotte Moorman focus of major exhibition at Northwestern (January 15, 2016)

“'In light of her influence on contemporary performance and her role as an unequaled popularizer of the avant-garde it is long overdue for her to be appreciated as a seminal figure in her own right,' (Lisa) Corrin said in a statement." -Chloe Riley

Chicago Tribune: Evanston Review: Block Museum unpacks life of avant garde cellist Moorman (January 15, 2016)

"'Charlotte Moorman was of a generation of impresarios who wanted to see art taken out of concert halls and museums and put in places where everyone gathered,' Corrin said. 'Her festivals took place in Grand Central Station and Shea Stadium and Central Park. Doing something that defies the constraints that institutions often impose on artists was a very, very important part of her work. She wanted experimental art to be accessible to everyone, not just insiders.'" -Samantha Nelson

The Art Newspaper: The topless cellist earns her due (January 13, 2016)

"Yoko Ono has lent the exhibition’s most anticipated piece, which depicts Moorman performing Ono’s Cut Piece (1964) in 1982 from the roof of her Manhattan loft three years after she was diagnosed with cancer." -Gabriella Angeleti

The Daily Northwestern: Block exhibit first to feature performance artist Charlotte Moorman's work (January 13, 2016)

"The Block Museum of Art will present the first large-scale exhibition on 20th century musician and performance artist Charlotte Moorman — an artist who focused on the intersection between the public and art." -Emily Chin

Arts Journal Blog: Charlote Moorman gets a Full-Dress Close-Up (January 11, 2016)

"Moorman was a major radical artist, an uncompromising avant-gardist, who believed so fervently in the idea of life itself as a performance that the evidence of her belief contained in those boxes now provides the framework of a groundbreaking exhibition exploring her legacy in all-embracing detail." -Jan Herman