A cursory look suggests that variations on the themes of individuality (as opposed to the collective social unit) and transcultural displacement dominate Do-Ho Suh’s oeuvre. Fabricated in nylon, Staircase (2003) is a gauzy blanket of red that hangs suspended from a ceiling spanning 2 floors, an ethereal, translucent replica of his living space in Chelsea, New York in which viewers can peer – rather obliquely –[…..]
Today’s video is from our friends at ArtStars*, a traveling show about the contemporary art world, out to uncover the 7 Unsolved Mysteries of the Art World — one art scene, one country at a time. In this video, host, Nadja Sayej, talks with Parisian artist Cyprien Gaillard about his installation at KW Institute for Contemporary Art in Berlin. The installation involves hundreds of cases[…..]
The Curators Battle is a pretty direct title for an experimental concept event. The Grimmuseum hosted two curators, Carson Chan and Aaron Moulton, who each organized separate shows in adjacent galleries, pulling work from the same artists. For added drama, there was a vote to choose the better show. At it’s best, forcing the audience to consider the behind the scenes development of an art[…..]
Before we go any further there is a confession I should make – I have a slight obsession with art that is visceral, uncomfortable and generally disturbing. Something my friend David – a mutual adorer – once designated ‘the creep factor.’ So when I first laid eyes on images from HRL Contemporary’s upcoming show The Nature of Change: Hybridity and Mutation I was hoping to[…..]
This spring, the Manifest.AR collective is presenting new and established augmented reality (AR) artworks at the ICA during the 2011 Boston Cyberarts festival. Approximately 16 artists will present their incorporeal digital art in and around the ICA. Some will be site-specific works that respond to the architecture of the museum and some will aim to juxtapose their work against the existing physical exhibitions in the[…..]
Though the fields obviously aren’t mutually exclusive, technology and art have shared a love-hate relationship through the ages. At moments adversarial, art puritans fear drastic change in the application of new technologies to art disciplines, and staunch technologists fear a contamination of science by ‘softer’ art practices. However, at their most collegiate, art benefits from the potential of new technologies to both alter people’s perceptive[…..]
My natural tendency, when looking at trash in an art gallery, is to play detective and treat the waste as anthropological evidence. For her solo show at Neuer Berliner Kunstverein, Karin Sander has cut six holes in the floor of the gallery’s administrative office where trash cans used to sit. Located directly above the gallery, the administration’s waste now falls down from the office space[…..]
