Anuradha Vikram

From this Author

#Hashtags: The Painting

Installation view of Henry Taylor, The 4th, 2012-2017 and THE TIMES THAY AINT A

CHANGING, FAST ENOUGH!, 2017, with Deana Lawson, Ring Bearer, 2016. [Taylor]

Collection of the artist; courtesy Blum & Poe, Los Angeles/New York/Tokyo. [Lawson]

Collection of the artist; courtesy Rhona Hoffman Gallery, Chicago, and Sikkema Jenkins &

Co., New York. Whitney Biennial 2017, Whitney Museum of American Art, New York, March

17-June 11, 2017. Photo by Matthew Carasella.

#representation #WhitneyMuseum #EmmettTill #DanaSchutz #MartinBerger #race #civilrights So much hinges on the question of audience. Who is presumed to engage with artwork, and on what terms? In the museum, people of color so often feel that we are not the intended audience. The hurt that we experience on realizing that disconnect—that we are here for art but art is not necessarily here for us—has now been[…..]

#Hashtags: The Build Up

Defend Boyle Heights protest against PSSST and artwashing by galleries, May 13, 2016. Images courtesy of Boyle Heights Alliance Against Artwashing and Displacement.

#art #community #development #displacement #gentrification #Los Angeles What is required for art and social justice to coexist within the development of a city? In February, the activist collective known as Boyle Heights Alliance Against Artwashing and Displacement (BHAAAD) made headlines for their picket of gallery 356 S. Mission Road, which occurred during a political organizing meeting called by a group of Los Angeles artists. And earlier[…..]

#Hashtags: Masculine-Feminine

Iggy Pop Life Class by Jeremy Deller. Organized by the Brooklyn Museum, February 21, 2016. © Brooklyn Museum. Photo: Elena Olivo.

In response to the Trump administration’s ongoing display of toxic masculinity at work, the Brooklyn Museum’s Elizabeth Sackler Center for Feminist Art has taken the unusual but vital step of incorporating a project about male identity into their “Year of Yes” thematic takeover of the museum. Iggy Pop Life Class by Jeremy Deller is an inquiry into the nature of manhood, corroborated with art-historical artifacts[…..]

#Hashtags: Between Truth and Fiction

ruby onyinyechi amanze. Kindred, 2014; graphite, ink, pigment, enamel, photo transfers, glitter on paper; 80 x 78 inches. Photo courtesy of Tiwani Contemporary, London and the artist.

#truth #history #narrative #Afropolitan #multiculturalism #future In an age when fact and falsehood are often indistinguishable, The Ease of Fiction is a title that gives pause. The exhibition, now at the California African American Museum in Los Angeles, was curated by Dexter Wimberly for the Contemporary Art Museum in Raleigh, North Carolina. Having been invited to participate in the exhibition’s collateral programming as a speaker[…..]

Hashtags: House of Horrors

Pedro Reyes. Doomocracy (Voting Room), 2016.

#privatization #gentrification #immigration #violence #history #freedom At the time of this writing, Pedro Reyes’ Doomocracy installation at the Brooklyn Army Terminal feels like a relic of a bygone era. Just one week after the project’s close, it is difficult for this writer to remember what it felt like to laugh at a funhouse of political horrors, featuring privatized national parks, designer oxygen boutiques, anti-abortion pep rallies, and[…..]

#Hashtags – Toward the Black Museum

Hammer Projects: Simone Leigh, September 17, 2016–January 8, 2017. Installation view, courtesy of Hammer Museum, Los Angeles. Photo: Brian Forrest.

#museums #race #representation #institutional critique The recent controversy over Kelley Walker’s exhibition Direct Drive at the Contemporary Art Museum St. Louis, and the departure of that exhibition’s curator, Jeffrey Uslip, was another reminder that museums are not built and programmed for all audiences alike. As this column has taken up questions of race in the museum on numerous occasions (and class in the museum, and[…..]

#Hashtags: Water Water Everywhere

Teresa Margolles. La Sombra (The Shade), 2016; concrete veneer on wood. Artwork commissioned by City of Los Angeles Department of Cultural Affairs (DCA) for CURRENT:LA Water. Photo by Panic Studio LA.

#environment #conservation #access #resources #water #public art #civic art #biennials Los Angeles is a metropolis built on a delusion: that engineering can overcome a basic lack of sufficient resources to meet the popular need. Five years into a severe drought, one would think conservation would be on everyone’s mind, but the clean cars and green lawns all around town suggest otherwise. To increase discussion of[…..]