February, 2014

Fan Mail: Hugo Orlandini

Hugo Orlandini. Fortune’s fool, 2011; cast white bronze; 17.5 x 30 x 19 cm. Image courtesy of Tatiana Kourochkina art gallery.

Diminutive triumphal arches, human-sized Playmobil figures, and model prison quarters (both to scale and miniature) are a few of the many forms Hugo Orlandini’s work has taken. For categorization’s sake, we could call Orlandini a conceptual sculptor; however, his work incorporates layers of visual and social research culled from public events that richly complicate this subject matter. Orlandini approaches each work by digging deeply into[.....]

Archive State at the Museum of Contemporary Photography, Columbia College

David Oresick, Soldiers in Their Youth (still), 2009; digital video montage; 20 mins. Courtesy the artist and the Museum of Contemporary Photography, Chicago.

On view across three levels of the Museum of Contemporary Photography at Columbia College in Chicago, the exhibition Archive State presents five discrete bodies of work developed by six artists. (One of the installations is made by a duo.) Spatially expansive and ideologically packed, each of these five groups of works deserves individual attention. Likewise, the title of the exhibition itself is due some unpacking. Using the[.....]

Andy Warhol’s Photographs at the RISD Museum

What, one might ask, remains to be said of Warhol? This perennial darling of the art gallery and the auction house, so irreverent and unpredictable in his own time, increasingly registers as tame, tasteful, and non-threatening in our own. Yet Andy Warhol’s Photographs, a small, focused exhibition at the Museum of the Rhode Island School of Design, reaffirms the artist’s bracing vitality against the backdrop of his[.....]

30 Americans at the Contemporary Arts Center, New Orleans

In a nod to Linda Nochlin’s famous query, Michele Wallace asked, “Why are there no great black artists?”[1] 30 Americans is the response to this question, a beautiful, rambunctious show that gathers the work of 31 African American artists. Unfortunately, 30 Americans, similar to Thelma Golden’s Freestyle in 2001, is not about a specific curatorial theory or thought, but rather a placing of African American[.....]

#Hashtags: The Social and the Political

#engagement #social practice #institutions #academia #authenticity #representation Berkeley has lately been abuzz with social practice of a politically conscious nature that befits the People’s Republic. The Berkeley Art Museum is presenting David Wilson’s The Possible, an exhibition as creative platform that includes numerous artist collaborators and participatory activities for the public. Concurrent with that exhibition, UC Berkeley’s Center for South Asia Studies presented the conference “Collecting[.....]

White Hot Lamp Black at Southern Exposure

Hillary Wiedemann. Transit of Venus, 2013 (video still); color HD video; 2:50. Courtesy of the Artist.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Suzanne L’Heureux reviews White Hot Lamp Black at Southern Exposure in San Francisco. Southern Exposure’s group exhibition White Hot Lamp Black explores the edges of perception, featuring artists who[.....]

Locating Technology: Participatory Economics

Bernie Lubell. A Theory of Entanglement (Detail of knitting after two days), 2009; pine, maple, rubber rope, black poly cord, and music wire; 32 x 40 x 60 ft. Courtesy of the Artist.

Today from our partners at Art Practical, we bring you the latest installment of Genevieve Quick‘s Locating Technology column, which explores “the evolution of technology and its effects on artists’ processes, disciplinarity, and the larger social context of media creation, dispersal, access, and interactivity.” This column was originally published on February 12, 2014. The trajectory of history suggests that increased opportunities for individuals to engage in[.....]