Anuradha Vikram is a critic, curator, and educator based in the San Francisco Bay Area. She has been an Instructor in art history and theory at San Jose State University, College of Marin, and UC Berkeley. She has curated exhibitions for Craft and Folk Art Museum in Los Angeles, Mills College Art Museum in Oakland, as well as Kala Art Institute, ProArts, SOMArts and other Bay Area venues. Her writing has appeared in Artillery, Art Practical, Afterimage, LEONARDO, and OPEN SPACE: The SFMOMA Blog, as well as in books and catalogues on contemporary American artists including Sonya Rapoport and Chitra Ganesh. From 2009-2013, she was Curator at the Worth Ryder Art Gallery in the UC Berkeley Department of Art Practice. Previous positions include Gallery Director at Aicon Gallery, Palo Alto, CA; Program Director at Headlands Center for the Arts in Sausalito, CA; Associate Producer of ISEA2006 Symposium and concurrent Zero One San Jose: A Global Festival of Art on the Edge, San Jose, CA; and Exhibitions Director at the Richmond Art Center, Richmond, CA. Prior to relocating to the Bay Area from New York, she managed the studio of Claes Oldenburg and Coosje van Bruggen. She has an MA in Curatorial Practice from California College of the Arts and a BS in Studio Art from New York University.
#race #class #access #commerce #representation #empowerment #codeswitching As the values of the contemporary art elite veer ever farther toward commerce, art with a social justice conscience is rallying in New York—arguably the center of the global art market. This summer, three prominent artists known for their political consciences have been drawing attention for thoughtful, research-heavy projects. In Chelsea, Hank Willis Thomas and the team of William Powhida and Jade Townsend have[…..]
#institutions #representation #access #sustainability #visibility #regionalism #globalism Two shows at San Francisco museums this past July proposed to reconcile gaps between local and global concerns. For Proximities I: What Time Is It There? at the Asian Art Museum, guest curator Glen Helfand asked a group of Bay Area artists to consider the concept of Asia from the perspective of the culturally uninitiated. Migrating Identities, at Yerba[…..]
Yael Kanarek is interested in the signs and systems that we use to quantify and communicate knowledge, specifically words and numbers. She focuses on the spaces where meaning is conveyed or lost as it passes through cultural and disciplinary frameworks, while her work fluctuates between painting, sculpture, and time-based interactivity. She has exhibited at The Drawing Center and in the 2002 Whitney Biennial and has received numerous awards,[…..]
#punk #institutions #historicity #commerce #style Is the Metropolitan Museum of Art’s Punk: Chaos to Couture the death knell of punk as a social and cultural movement? Certainly, the Met’s assertion that the locus of punk’s importance is in its influence on high fashion would indicate that it is no longer relevant to these larger concerns. The A-list attendees at May’s opening gala were decidedly mainstream[…..]
In an era when organized religion is losing its hold on the industrialized world, it may seem strange that curators would want to reengage with spirituality when considering Western Modernism of the past one hundred years. Stranger still that a museum focused on exploring the contemporary shape of Jewish life would take an interest in exhibiting work by practicing Buddhists, Muslims, Christians, and New Age[…..]
#institutions #work #language #InternationalArtEnglish Writing in Triple Canopy last year, Alix Rule and David Levine coined the term “International Art English” (hereby referred to as IAE) to describe a linguistic mode that is part polyglot, part jargon—peppered with French, German, and Latin but based on the structure of English. The authors took this hybrid language to task for lending a veneer of substance to numerous examples of art[…..]
Julio César Morales is an artist, curator, and educator who recently left the San Francisco Bay Area to become curator at the Arizona State University Art Museum in Tempe. Morales was an adjunct curator at the Yerba Buena Center for the Arts from 2008-12, where he created “PAUSE: Practice and Exchange,” a series of solo exhibitions by artists including Allan de Souza, Euan Macdonald, and[…..]
