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Summer Session – #Hashtags: The Business End of Art

Ray Beldner. Moneybags, 2008. Sewn US Currency. Courtesy Charlie James Gallery.

June’s theme is labor, and today we bring you an installment of Anuradha Vikram’s #Hashtags, a series that explores the intersection of art, social issues, and global politics. In today’s so-called creative economy, Vikram notes, “The most successful artist will be the one who knows how to make capital work for her, rather than working for capital.” This article was originally published on March 23, 2015.   #artmarket[…..]

Summer Session: On Laboring for Love

Shannon Finnegan. 8 Hours of Work, 2012 (performance still); Saturday, June 9, 2012, 11 a.m.–7 p.m. Presented by Recession Art in conjunction with Everything Is Index, Nothing Is History at the Invisible Dog, Brooklyn. Courtesy of the Artist.

Today from our partners at Art Practical, we bring you the next installment of our Summer Session—for June we’re considering the idea of labor. In this essay, author Elyse Mallouk (also an artist) notes, “While artists struggle publicly to make the value of art work visible, they are bound as a corporate body by the uncertainties and sacrifices they share in common… Artists can gain power[…..]

Summer Session – Help Desk: Internship Woes

Yoyoi Kusama, Dots Obsession, 1999. Mixed media, Collection Les Abattoirs,Toulouse

Kicking off our 2016 Summer Session is a sequence of articles that regard labor in the arts: work, innovation, compensation, leisure, and more! In this Help Desk column, Bean Gilsdorf answers a question about internships, working for free, training for future employment—and considering what the law allows. The article was originally published on December 17, 2012. In general, blog writing is a tricky area in terms of authorship.[…..]

Celebrating a Vision: Art and Disability at SFO

Susan Wise. Baskets, 2015; mixed media; variable dimensions. Courtesy of the Artist and NIAD Art Center, Oakland.

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, Ángel Rafael Vázquez-Concepción reviews Celebrating a Vision: Art and Disability at the San Francisco International Airport Terminal Three Gallery. Traveling via San Francisco International Airport (SFO)[…..]

Art Dives Underground in Downtown D.C.

bmoreart_balls

Today from our friends at BmoreArt we bring you a piece on an interactive art installation in an abandoned trolley station. Author Brendan L. Smith says of the space, “The curving walls of an oval-shaped room descend like stair steps next to a cluster of miniature buildings that resemble a child’s bristle-block creations.” This article was originally published on April 4, 2016. In an abandoned[…..]

F.T.P: For the People at Galería de la Raza

Fanny Aishaa. Elsipogtog, 2003; print based on original oil painting; 36 x 48 in. Courtesy of the Artist and Galería de la Raza, San Francisco. Photo: Henry Pacheco.

 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, Ángel Rafael Vázquez-Concepción reviews F.T.P: For the People at Galería de la Raza in San Francisco.   At Galería de la Raza in the Mission District[…..]

Interview with Carlos Motta

Carlos Motta. Patriots, Citizens, Lovers..., 2015; installation view.  PinchukArtCentre, Kiev. Courtesy of Instituto de Visión, Bogotá, Mor Charpentier Galerie, Paris, and Galeria Filomena Soares, Lisbon.

Today from our friends at BOMB Magazine, we bring you an interview with artist Carlos Motta. Author Cat Tyc writes, “Motta’s research-based practice is constituted by discursive spaces, presented in a variety of different spatial forms, which create—in his own words—’counter-narratives that recognize suppressed histories, communities, and identities.’” This article was originally published May 6, 2016. Cat Tyc: At your artist talk at Pratt Institute, you[…..]