Trevor Paglen It is a common belief today that abstraction and politics don’t mix. We tend to think of formalism as either transcendent of problems like race and war, or on the other hand, beholden to its limitations as decoration, bought and sold in the marketplace. Reduced Visibility, curated by Core Program Critical Studies Resident Kurt Mueller at the Glassel School of Art in Houston,[…..]
Deitch Projects in New York City is currently showing Tauba Auerbach‘s Here and Now/And Nowhere, an exhibition which explores the collision of two conflicting states. The title (purposely composed as an anagram) reflects the artist’s fascination with the origins of language, both verbal language and the symbols used in written language. The multimedia show includes paintings, photographic works, sculpture, and a musical instrument, all investigating[…..]
Currently on view at Redux Contemporary Art Center is Inside the Fence, a new site-specific installation by Canadian-born artist Lynn Richardson. The installation is saturated with imagery that suggests architectural development within a working landscape. Large construction blockades hover gracefully above the gallery floor, striped barriers adorn the walls and caution lights seem to illuminate the space. The installation is also activated by the viewer[…..]
John Groo courtesy Real Art Ways Currently on view at Real Art Ways in Hartford, Connecticut is a site specific installation by New York-based Chris Kaczmarek. Kaczmarek’s installation seems to tap into the artery of the Bush-era Red/Orange/Yellow zone thinking, wherein one was (is?) perpetually made aware of the changing safety of the current situation, as well as drawing on the theme of citizen surveillance[…..]
For her installation at Berlin’s Capitian Petzel, Polish artist Monika Sosnowska, in her signature style, emphasizes space through an array of constructed structures. Seven pieces fill the main gallery space, arranged in a line, beginning with the smallest–a metal stool whose legs have been bent so the viewer is actually looking at the stool’s underside–and concluding with a large, twisted sculpture resembling a railing or[…..]
Eric Yahnker recently opened a solo show at Seattle’s Ambach and Rice Gallery. Though his ouevre spans a motley crew of materials and techniques, his modus operandi tends to favor elaborately laborious processes that can be best described as artistic one-liners. This surprising element of going above and beyond to create such elaborate jokes lend the works a two-sided element of both hilarity and seriousness,[…..]
Samuel Freeman, formerly known as the Patricia Faure Gallery, features an eclectic sampling of contemporary sculptures and a few token paintings at, Mostly Sculpture (Damn It). Mr. Freeman initially sought to show new paintings, but ended up with sculptures instead, hence the parenthetical “Damn It.” From the get-go, the show flaunted a hipster flare, offering an ice cream social in lieu of traditional wine and[…..]
