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[…..]
The work of Slovakian artist Roman Ondák has been referred to as “intervention,” a label which makes reference to the way a piece confronts the viewer with an unexpected experience. Ondák, who is currently participating in the Berlin Biennale through August 8, 2010, creates work that is at once mischievous, hilarious and stone serious. He deals with social issues of both the grand and trivial[…..]
At six o’clock on Saturday evening in SoHo, Kathy Grayson and Meghan Coleman made public their intent to fill the hole that Jeffrey Deitch‘s trans-continental career move created in the world of New York art, which is no small undertaking. The two former directors of Deitch Projects opened a much anticipated new space at 104 Greene Street, aptly titled The Hole. The inaugural exhibition, Not[…..]
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[…..]
See Line Gallery‘s main showroom currently hosts Room Mobile, a display of star-themed mobiles curated by the gallery’s director, Janet Levy. In addition to the eighteen artists who created mobiles, Levy also invited Mileece, a sonic artist, to transform the gallery’s project room into Soniferous Eden. Mileece’s installation encompasses both terrestrial and astral elements, highlighting the inherent interconnectedness using what she describes as “Aesthetic Sonification.”[…..]
A myth is a foundational narrative that may be based in truth or fiction but either way it tells a story of who we are. Thus self-consciousness is constructed by a shared narrative and helps us to give shape and even name our identity. If we think of identity in the usual terms of religion or nationalism, some examples of these mythological narratives include the[…..]
Is it true belief’s unyielding determination that redeems and protects? This question lies at the heart of Brent Green‘s solo exhibition Gravity Was Everywhere Back Then at Andrew Edlin Gallery. The issue of belief occupies both Green and the man whose work provided the inspiration for the project. The story goes like this: a man named Leonard Wood once built a house entirely by hand[…..]
