In an age of twenty-four hour a day news networks that constantly reflect that we are in the midst of a major environmental disaster, multiple ongoing wars, and the worst economic crisis of our time, it is hard not to become a little paranoid or to begin thinking that the end of the world near. With this in mind it is no wonder that artists[…..]
Today’s article is from our dear friends at Art Practical, where Jessica Brier discusses the new work by On Kawara at the San Francisco Art Institute’s Walter and McBean Galleries. It’s pretty safe to say that Conceptual Art’s moment has come and gone. Now that we are living in a period in which virtually all art is expected to be “conceptual” in some way or[…..]
While the act of mapping conveys authority – giving credence to that which it records – mapping cannot remain entirely static and must be revised to represent changes in power structures. In efforts to better understand or better represent the world, many contemporary artists eschew two-dimensional map-making in favor of addressing the ways in which traditional maps are transgressed by global complexities. Whose Map is[…..]
This week, the Christian Marclay: Festival will open at the Whitney Museum of American Art in New York City. The exhibition celebrates many of the artist’s graphic scores for performance and will take the form of multiple daily performances by individual musicians and vocalists. The Whitney has pulled together some of country’s finest Avant-garde musicians to play more than a dozen of Marclay’s scores dated[…..]
In the 1988 action film, Die Hard, John McClane (played by Bruce Willis) hustles around a Los Angeles skyscraper—sweat-soaked and shirtless—in an effort to save his wife and other hostages from a ruthless terrorist group. At various points throughout the film, McClane (an NYPD officer) survives a partial jump from an exploding building and smashes through a plate glass window. Basically, he is injured to[…..]
Recalling the stateliness and beauty of warriors, the delicate chainmail in Mella Jaarsma‘s latest work, Dirty Hands, is only interrupted through the visitor’s intervention in the form of light projections of 17th century Dutch prints picturing early colonial confrontations in Indonesia. While on one hand, the interactivity provides a recreation of these historical tensions, the intervention subtly implicates the viewer in their role as teller[…..]
If the come hither of May’s New York Gallery Week annoyed the crap out of you, then maybe KRATOS — ABOUT (IL)LEGITIMATE(D) POWER at Team Gallery has just the gravitas you’ve been seeking. Monochrome in execution and serious in tone, this Debbie Downer of a show stands in stark contrast to the group hugs that typically fill galleries’ summer schedules. The show is dominated by[…..]
