Intersections, Claudia Joskowicz’s two-channel video installation and accompanying photographic series at LMAKprojects, is a straightforward display of her newest video piece, Every Building on Avenida Alfonso Ugarte – After Ruscha. The insular gallery space of LMAKprojects has been transformed into a kind of dark pathway. The spectator enters and is sandwiched between two opposing, life-size projections of two sides of the same street: Avenida Alfonso[…..]

When you enter your local supermarket, the door will most likely slide open automatically, welcoming you as it senses your presence. There’s nothing remarkable about that, you’re accustomed to the simple technology of motion sensors. What is remarkable is that technological fixtures such as motion sensors have become so ubiquitous that we scarcely notice them anymore. They are a part of your daily routine, a[…..]

Tracey Emin’s work presents an unfiltered and often embarrassingly personal view of emotional pain. It reflects the kind of desperate or careless narcissism that is the territory of the depressed. Emin is concerned with the primacy of her own experience—and the narrative of her own sadness is the unabashed subject of her work. Emin’s oeuvre has always felt most valuable to me in terms of[…..]

Everyone I know who saw Christian Marclay’s Clock raved about it. The 24-hour sequence of film clips, most with a view of a clock face, is more action-packed than I’d imagined it would be. The focus is as much on the events surrounding the passage of time as on the instruments we use to measure that passage. In this way, The Clock isn’t about clocks[…..]

Last year, Theaster Gates and a team of collaborators took over a run-down building in Kassel, Germany called Huguenot House, renovating the space for performances and creative interventions as part of 12 Ballads for Huguenot House, the artist’s contribution to dOCUMENTA (13). It was a fitting gesture considering the restorative origins of the first dOCUMENTA in 1955, which reintroduced modern art to Germany after years[…..]

In his 2011 video, “Liberaceón,” Chris E. Vargas inserts radical, queer rhetoric into the arguably apolitical, high zest that was Wladziu Valentino Liberace’s life. HBO’s biopic about Liberace is headed to Cannes this month. Jacqueline Clay’s article was originally published September 5, 2011. History, like most things, is subjective. What is culled from individual accounts is accepted as fact and eventually translates into some kind[…..]

Caitlin Cunningham’s current solo exhibition is on view at sophiajacob in Baltimore, Maryland, through May 25th. The show, informally titled Tan Penis Island, extends from a focused critique of the legacy of modernist painter Paul Gauguin’s exploitation of Tahiti to examine the ramifications of fantastic projection, the economy of colonization, and the production of white masculinity through the exotic Other. Cunningham integrates live plants and[…..]