Born in 1962 of parents who were attached to the Chinese People’s Liberation Army, Geng Jianyi grew up in a country shaped by rigid, state-mandated structures that had, by the late 1960s to the early ‘70s, fallen a long way short of the idealistic socialist Chinese state that Mao Zedong had envisioned. Where solidary socialism was intended to create commitment to the system by way[…..]
Artist Jeremy Bolen brought back a lot of pictures from his trip to Geneva, Switzerland last year, which are currently on view at Andrew Rafacz Gallery in Chicago. Bolen’s one-man show titled CERN, features conceptual photography that is driven by unique processes of exposing film, processes which point toward challenging questions about the veracity of art. The Geneva photos aren’t exactly your standard images of a bucolic European countryside,[…..]
A few weeks ago, Chicago-based contributor, Randal Miller, addressed the role of images in relation to national tragedy — arguing that the images of horror and loss perpetuated by the media do little to incite lasting change — in a piece for DailyServing entitled Where Images Fail: Newtown Connecticut. Today we are sharing some responses that came through our media partner, Art Practical, who republished the[…..]
The first time I saw New Year’s Day Swimmers, the current exhibition at Altman Siegel Gallery in San Francisco, I didn’t mean to. I intended to pop into the gallery to drop something off, but as soon as I crossed the threshold I was completely captivated by the works and forgot everything else I was supposed to accomplish by my visit. Floating through the gallery,[…..]
In December of 1968, Seth Siegelaub and Jack Wendler published The XEROX BOOK, an exhibition produced entirely in book form. The project included seven contributing conceptual artists: Carl Andre, Robert Barry, Joseph Kosuth, Sol LeWitt, Douglas Huebler, Robert Morris and Lawrence Weiner. The Kadist Art Foundation in San Francisco recently spoke to Jack Wendler about The XEROX BOOK offering a unique glimpse into the history[…..]
When Lucio Fontana published his Spazialismo series in the 1940s, a fundamental reiteration of this theory was that matter should be transformed into energy to invade space in a dynamic form. In essence, only the conceptually abstract offered the freedom within linear space to explore ideas about movement and time in art. Fontana’s slash series went on to demonstrate this idea, where linear slashes and[…..]
Imagine: you walk into a white room. One you can only enter wearing some of those sexy, plastic blue shoe protectors. An oversized flatscreen beams bright flickering light at the opposite wall. You sit down in front of the screen. The brightness is of an almost suffocating magnitude – there is so much light your eyes can’t cope. Instead of seeing light you start to[…..]
