As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Genevieve Quick. In her piece, The Way Beyond Art: Infinite Screens, Genevieve explores the 5-channel video installation Hearsay of the Soul, 2012, by acclaimed artist and filmmaker Werner Herzog. As the fourth and final installment of its exhibition series “The Way Beyond Art: Infinite Screens,” the CCA Wattis Institute for Contemporary Arts[…..]
In an unassuming brick building on a gray Willamsburg street, adjacent to a used car lot and several doors down from a polythene bag manufacturer, there is a portal to the West Coast. Kevin Cooley’s Skyward, currently on view at the Boiler—the project space of the Pierogi Gallery—captures the quintessence of Los Angeles life: the car as constant, the looping freeways, the towering palm trees[…..]
Tony Discenza’s text-based work is concise yet absurd: the tone is often matter-of-fact while the content is speculative and fanciful. The appropriated formats of a street sign or a book’s teaser page provide an internal logic that holds the tension of this paradox quite neatly. Obviously, I’m a fan, so I asked him to chat with me about his recent projects. Discenza’s solo and collaborative[…..]
Imagine: you walk into a white room. One you can only enter wearing some of those sexy, plastic blue shoe protectors. An oversized flatscreen beams bright flickering light at the opposite wall. You sit down in front of the screen. The brightness is of an almost suffocating magnitude – there is so much light your eyes can’t cope. Instead of seeing light you start to[…..]
Today’s feature is brought to you from our friends, the online interview magazine, The Avant/Garde Diaries. The following is a video interview with master art forger, Father Philanthropist, Mark Landis. Standing next to 57-year-old Mississippi native Mark Landis in the watercolors aisle of a local art store, the words “master art forger” are the least likely to come to mind. Bald, stooped, and slight of voice, Landis[…..]
Xavier Cha‘s Untitled (2012), on view at 47 Canal through January 13th, positions four high definition video screens displaying a series of “screen tests” throughout the small gallery. These close-up video portraits present subjects alternately gazing at and away from the viewer, inviting the audience to scrutinize both the faces and backs of these heads. Jonathan Coward scores the videos with an intensified background noise[…..]
I witnessed at least a handful of passerby pause in front of the glass-front façade of the Jones Center in downtown Austin, Texas. They shuffled through pockets and bags to find their iPhones, quizzically documenting the two unusual objects on view. How much contemporary art stops people dead in their tracks, not to scoff and mutter “well, I could do that,” but rather to ponder[…..]
