Posts Tagged ‘political’

Talking About 100 Days Action, Part 2

Ricki Dwyer. Shred and Re-weave the American Flag, 2017; participatory action, performed on January 27, 2017, at Open Windows Cooperative in San Francisco, as part of 100 Days Action. Courtesy of the Artist.

April 30 is the last of Donald Trump’s first 100 days in office. To mark that inauspicious event, I spoke with Kenneth Lo, artist and social media manager for 100 Days Action, and artist Ricki Dwyer, who contributed the intervention Shred and Re-weave the American Flag. Our discussion ranged from how resistance efforts have changed since the inauguration, to the role artist–activists play in those efforts[…..]

Interview with Hank Willis Thomas

Hank Willis Thomas. Question Bridge, 2013 at the Missouri History Museum.

Hank Willis Thomas has long illuminated the histories of racialized labor, Black cultural economies, politically crafted imagery, and their cumulative roads to revolution. His keen examinations of political gesture are steadily outgrowing their categorization as visual art and becoming increasingly discursive projects rooted in actualization. On the heels of his recent exhibition at Savannah College of Art and Design, Willis Thomas offers new avenues for[…..]

John Buck at Robischon Gallery

John Buck. The Immigration, 2016; jelutong wood, acrylic paint, leather, motors; 114 x 268 x 168 in. Courtesy of Robischon Gallery.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Kate Nicholson reviews John Buck at Robischon Gallery in Denver. John Buck’s colossal kinetic sculptures draw passersby into Robischon Gallery, including families[…..]

Excéntricos y Superilustrados (Eccentrics and Ultra-Enlightened)

Lux Lindner. Blister cognitivo (Cognitive Blister), 2002-2016; scales and books; variable dimensions. Courtesy of Museo de Arte Moderno de Buenos Aires. Photo: Tania Puente.

There is a worm in the White House. A sneaky, repulsive, tiny worm crawls through its corridors, aisles, and rooms. It sticks its head out, and slides from the balconies. This earthworm is not alone. There is more than one. In fact, there is a legion of earthworms in the White House, and they won’t be leaving; it is theirs now to keep. This is[…..]

Eric Yahnker: Noah’s Yacht at Zevitas Marcus

Eric Yahnker. Abe Lincorn, 2015; colored pencil on paper. Pierced Piety, 2015, colored pencil on paper. Shell Game, 2015 (detail); 314 Purell hand sanitizer bottles, spire seashells. Courtesy of the Artist and Zevitas Marcus.

Eric Yahnker’s large-scale colored pencil drawings are often satirical, social, and political in nature. The Los Angeles–based artist, who has worked both for South Park and as a journalist, views himself as a political cartoonist in the often patronizing and self-involved art world. Many of his previous shows have felt like incredible, offbeat, anarchic versions of the very best in political cartoons or Dadaist reinterpretations[…..]

Talk to Me: Samuel Levi Jones at ProArts

Samuel Levi Jones. Talk to Me, 2015; installation view; mixed media on canvas. Courtesy of the Artist and Pro Arts Gallery, Oakland.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Marie Martraire reviews Talk to Me: Samuel Levi Jones at ProArts in Oakland. In front of Oakland City Hall, thirty-three large square collages are hung on[…..]

#Hashtags: Liveness

Jason Moran and Alicia Hall Moran, Work  songs, ARENA, Padiglione Centrale, Giardini. 56th International Art Exhibition - la Biennale di Venezia, All the World’s Futures. Photo by Isabella Balena. Courtesy: la Biennale di Venezia.

#participation #politics #capital #religion #access #inclusion At the center of All the World’s Futures—The 56th Venice Biennale is the ARENA. Designed by architect David Adjaye, it is meant to serve as a platform for “live art” throughout the exhibition’s run. The space is defined by a large, low platform, flanked by risers and backed with a projection screen. Above the stage, a mezzanine provides another vantage point. The[…..]