Today from our friends at ARTS.BLACK we bring you the third installment of author Ashley Stull Meyers’ series Curating in an Era of Change. In this iteration of the work, Meyers interviews conceptual artist E. Jane. They discuss the internet as exhibition space, academia, and navigating the art world—and the world at large—as Black women. E. Jane states, “I think the social media feed has some Utopian possibility[…..]
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As the artist’s first comprehensive retrospective moves from coast to coast, we’ve got Bruce Conner on our minds. Bruce Conner: It’s All True opened first at the Museum of Modern Art (and closed in early October) and now travels back to Conner’s old stomping grounds in the Bay Area to open on October 29 at the San Francisco Museum of Modern Art. Ashley Stull Meyers’ 2014 review of[…..]
Artist Katherine Bradford likes acrylic paint. As a material, acrylic is filled with wonder for its contradictions. Its water-soluble chemistry allows for the kind of dreamy washes that color fields and abstractions often rely on, while its water-resistant setting state is anchored and dependable. Bradford’s solo exhibition Divers and Dreamers, currently on view at Adams and Ollman, is up to the comparison of being dually[…..]
DSAP director Patricia Maloney selected today’s installment for our Best of 2015 series: “Ashley Stull Meyers doesn’t shy away from calling out an exhibition with as grand a title as The Great Debate About Art for what it leaves unexamined. The effort to determine the limits or properties of what constitutes art is a quixotic task, and Meyers acknowledges the absurdity inherent in the premise right from[…..]
For today’s installment of our Best of 2015 series, regular contributor Ashley Stull Meyers writes, “To exhibit art by little-known or purposefully anonymous artists holds a cultish allure over the contemporary art world. In the curious case of Gunther K. and his mistress Margaret, a nearly fifty-year-old abandoned suitcase held archival ephemera too arresting for its maker’s obscurity to be institutionally relevant. Reading the review of[…..]
Canadian artist Erica Prince would not appreciate the Mattel playhouse I had as a kid, filled with floral furniture, plastic appliances, and female dolls to ensure that the household was running smoothly. Prince’s version, recently on view in Philadelphia, is my playhouse’s conceptual opposite—and that’s a wonderful thing. Prince is more inspired by science fiction than by domesticity. Her sculptures, installations, and drawings have a[…..]
Artist Ian McMahon is a material purist who makes monumental sculptures from raw clay and industrial plaster. The resulting works are contradictory in impression—domineering but fragile, familiar while avoiding redundancy. In his most recent exhibitions he has introduced an element of controversy for anyone who has ever engaged with the tedium of delicate materials—the work is made to be broken. Ashley Stull Meyers: Let’s talk[…..]