Pattern Recognition, currently on view at Brooklyn’s Museum of Contemporary African Diasporan Arts, focuses primarily on the paradox of explaining abstract painting. Though designed as a straightforward, contemporary group show featuring new work from established artists, Pattern Recognition must be viewed within the context of a museum whose focus is on community dialogue and education. The hand of Dexter Wimberly, the independent curator behind the[…..]
If the Venice Biennale is the United Nations of contemporary art, then the Giardini is its Security Council. The park’s stately pavilions belong to the (mostly European) nations that were best situated to claim them in the early- to mid-twentieth century. National pavilions are organized by state entities and can be counted on to present a government-sanctioned view of art, which tends toward the conceptually[…..]
#race #class #access #commerce #representation #empowerment #codeswitching As the values of the contemporary art elite veer ever farther toward commerce, art with a social justice conscience is rallying in New York—arguably the center of the global art market. This summer, three prominent artists known for their political consciences have been drawing attention for thoughtful, research-heavy projects. In Chelsea, Hank Willis Thomas and the team of William Powhida and Jade Townsend have[…..]
The artist’s hand is evident from the moment you walk into BUSTER SIMPSON // SURVEYOR, the first comprehensive survey of the Seattle-based artist’s forty-year career, now on view at the Frye Museum of Art. Simpson has chiseled the exhibition title’s two parallel lines into the gallery wall (on which the rest of the title is painted), like a giant trail marker or series of bite[…..]
When confronted with endings, we mourn and ultimately accept. We feel some mix of disappointment and satisfaction that we were there before it ended, excitement that it happened, and sometimes relief that it is over. Queens Nails is Dead is the last exhibition for Queens Nails Gallery, an artist-run nonprofit gallery that opened in San Francisco’s Mission District in 2004. Featuring the work of Daniel[…..]
Today we bring you the final part of our series of interviews and observations from The Best Things in Museums Are the Windows, a project that artist Harrell Fletcher is doing this weekend with the Exploratorium in San Francisco. For up-to-the-minute information, including where you can join the group, you can follow @exploratorium on Twitter. Jordan Stein, assistant curator for the Center for Art & Inquiry[…..]
Today we bring you part two of a three-part series of interviews and observations from The Best Things in Museums Are the Windows, a project that artist Harrell Fletcher is doing this weekend with the Exploratorium in San Francisco. Today’s essay is written by curator Christina Linden. For up-to-the-minute information, including where you can join the group, you can follow @exploratorium on Twitter. Mount Diablo, it was[…..]
