In our predominantly consumerist society, it is increasingly difficult to disconnect ourselves from our belongings. Barbara Kruger summarized the contemporary Cartesian dualism when she created her 1987 piece, “I Shop Therefore I am.” The more we define ourselves through our endlessly multiplying clutter, the harder it is to relate to others who don’t share our specific collection of objects onto which we project meaning and[…..]
As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Liz Glass on Sadie Barnette‘s exhibition at Ever Gold Gallery in San Francisco. Glitter and dirt; earthbound objects and slices of psychedelic space; the white cube and the club: these pairings are all present—and at odds—in Sadie Barnette’s exhibition, Composed and Performed. The exhibition is minimal in[…..]
There are so many things to look at in a museum–but that doesn’t mean that art doesn’t exist in unplanned and accidental encounters. Today #Hashtags reprints one of our favorite essays from last year, on the topic of uncurated looking. It was miraculous to me, only because I had never seen the space behind the doors. Yet, it was shameful, as if I had seen[…..]
San Francisco-based painter James Chronister will be the spring artist in residence at Lux Art Insitute in Encinitas, California where five residencies are awarded each year with the goal of connecting the artist with the community and supporting the artist through the completion of a project. This February, I began correspondence with Chronister to discuss his work and process, his Walkman playlist as a kid,[…..]
As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Bean Gilsdorf on UC Berkeley Art Museum‘s Silence exhibition. In Alan Moore’s graphic novel V for Vendetta, the main character tells his young acolyte, “Silence is a fragile thing. One loud noise and it’s gone.” On my way to the UC Berkeley Art Museum’s Silence exhibition, I had a related thought:[…..]
Painting has long offered codes for interpreting landscape, and from it a perspective on our place in the world. Claude Monet’s series of haystacks, bridges and the Rouen cathedral give us landscape as a clock, an unfolding of the hours of the day and time spent looking, comparing, recording and looking again. Monet had the luck to be surrounded by gardens and fields, but how[…..]
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[…..]
