Anuradha Vikram

From this Author

#Hashtags: Conceptualizing Difference

Charles Gaines: Gridwork 1974-1989. 
Installation view at the Hammer Museum, Los Angeles. February 8-May 24, 2015. Photography by Brian Forrest.

#institutions #race #conceptualism #access #appropriation A recent performance at Brown University by conceptual poet Kenneth Goldsmith has resurrected what had seemed to be a long-ago-settled debate. Goldsmith, whose poetic practice is based on appropriation, presented an adaptation of the autopsy report of Ferguson, Missouri, police shooting victim Michael Brown as a poetic reading during the Interrupt 3 arts festival in mid-March. The subsequent commentary has largely taken Goldsmith to task for what many perceive to have[…..]

#Hashtags: The Business End of Art

Steve Lambert. Capitalism Works For Me! True/False, 2011.
9 ft x 20 ft x 7 ft.
Aluminum and electrical.

#artmarket #creativeeconomy #collectors #entrepreneur #philanthropy #support As in nearly every field of commerce, it seems that the tension between old and new models of the business of art is coming to a head. Traditional galleries see that their established methods of selling selectively and covertly to buyers of high social standing are under threat. Museums, which once were beneficiaries of philanthropic largesse from those same[…..]

#Hashtags: Political Abstraction – The Revolution is Us

sturtevant_study_for_muybridge_plate_97_woman_walking_196641

In a 2012 essay for e-flux, After OWS: Social Practice Art, Abstraction, and the Limits of the Social, Gregory Sholette asks whether there can be a role for abstraction within the flourishing new discipline of socially engaged post-conceptual art practice. This remains a valid question given that most activist art is still understood to be representational, based on precedents from the Civil Rights era such as[…..]

William Binnie: Flame as Flag at Paul Loya Gallery

William Binnie. Untitled (Mill), 2014. Bleach on denim. 18 x 24 inches. Courtesy of Paul Loya Gallery.

William Binnie’s exhibition at Paul Loya Gallery in Culver City emerged from a residency granted to the Dallas-based artist by the Rauschenberg Foundation in Captiva, Florida, this past summer. While there, the artist made a series of paintings in bleach on denim drawn from photographs of fires set by political radicals. Binnie’s paintings merge Rauschenberg’s photo-transfer aesthetic with Andy Warhol’s fascination with media spectacle—the grimmer, the better.[…..]

Here and Elsewhere at the New Museum

GCC installation, 2014. Courtesy New Museum, New York. Photo by Benoit Pailley.

Here and Elsewhere, the New Museum’s colossal survey of contemporary art from the Arab world, sets for itself an impossible task. The curatorial strategy, as stated in the exhibition’s press release, is to work “against the notion of the Arab world as a homogenous or cohesive entity.” Though able to present a range of Arab identities, regionalisms, and geographies, the sprawling installation self-organizes and familiar tropes[…..]

#Hashtags: Human Kind

Khaled Hourani. Picasso in Palestine, 2009-2011. Photo by Sander Buyck.

#occupation #migration #civilrights #globalization #fundamentalism “Only crime and the criminal, it is true, confront us with the perplexity of radical evil; but only the hypocrite is really rotten to the core.”—Hannah Arendt “They were forced […] to condemn us without believing in our existence.”—Claude Cahun The horrific images emerging from Gaza in the past weeks have displaced any other visual reference in my mind, artistic[…..]

#Hashtags: The Politics of Rehearsal

Emily Mast. B!RDBRA!N (Epilogue), 2012. Exhibition and performance as part of Public Fiction’s 
Theatricality and Sets series. Photographer: Anitra Haendel.

#institutions #revision #making #access #nostalgia The second Made in L.A. biennial at the UCLA Hammer Museum indicates both the scope and diversity of the city’s many emerging and early-mid-career artists, and the pull that the art academy continues to exert on artists long after the completion of their degrees. The biennial’s emergence in 2012 marked a milestone in the evolution of Los Angeles as an art capital, no[…..]