Anuradha Vikram

From this Author

#Hashtags – Toward the Black Museum

Hammer Projects: Simone Leigh, September 17, 2016–January 8, 2017. Installation view, courtesy of Hammer Museum, Los Angeles. Photo: Brian Forrest.

#museums #race #representation #institutional critique The recent controversy over Kelley Walker’s exhibition Direct Drive at the Contemporary Art Museum St. Louis, and the departure of that exhibition’s curator, Jeffrey Uslip, was another reminder that museums are not built and programmed for all audiences alike. As this column has taken up questions of race in the museum on numerous occasions (and class in the museum, and[…..]

#Hashtags: Water Water Everywhere

Teresa Margolles. La Sombra (The Shade), 2016; concrete veneer on wood. Artwork commissioned by City of Los Angeles Department of Cultural Affairs (DCA) for CURRENT:LA Water. Photo by Panic Studio LA.

#environment #conservation #access #resources #water #public art #civic art #biennials Los Angeles is a metropolis built on a delusion: that engineering can overcome a basic lack of sufficient resources to meet the popular need. Five years into a severe drought, one would think conservation would be on everyone’s mind, but the clean cars and green lawns all around town suggest otherwise. To increase discussion of[…..]

#Hashtags: Convergences and Displacements

Community assists with evacuation of Townhouse library and archives, April 9, 2016. Photo courtesy Townhouse Gallery.

#Townhouse #Cairo #gentrification #urban #culture #displacement This past week has left the venerable nonprofit Townhouse Gallery shaken. Though the attempted demolition of its building at 10 Nabrawy Street in Cairo has been halted, the gallery is faced with months of work ahead to secure its future. Operating since 1998, Townhouse is known for drawing international artists and thinkers to Egypt, and nurturing an emerging network of[…..]

Hashtags: Crossing the Lines

Breezeway, Hauser Wirth & Schimmel, 2016, with installation view: Shinique Smith, 
Forgiving Strands, 
2015 – 2016. Image courtesy the artist and  Hauser & Wirth. Photo: Joshua Targownik /

#capitalism #markets #institutions #gentrification #innovation Two recent unconventional gallery openings on the West Coast have upended expectations about how the commercial and nonprofit sectors of the art world correspond to and interact with one another. Hauser Wirth & Schimmel’s seven-building complex in Los Angeles’ downtown arts district is a commercial gallery with institutional ambitions, promising thematic exhibitions, high-profile loans, publishing, and scholarship. Minnesota Street Project,[…..]

Hashtags: The Impossible Dream

Clark Richert, view of Drop City, “the Complex,” in El Morro, outside Trinidad, Colorado, circa 1966. Photo: courtesy Drop City Photo Archives

#utopia #nostalgia #technology #street art #counterculture Technology and utopia are united in a certain subset of counterculture in Hippie Modernism: The Struggle for Utopia at the Walker Art Center. The show illustrates the ideals and limitations of the utopian imaginings by artists of the 1960s and early 1970s with early computer graphics imaging, speculative architecture proposals, political posters, and installation art. In contrast to ideal societies,[…..]

#Hashtags: In Defense of the Middle-Class Artist

Jeremy Deller. English Magic, 2013. 55th Venice Biennale.

#art #class #wealth #access #innovation #middleclass Writing for Artnet in January, Ben Davis’s “Do You Have to Be Rich to Make It as an Artist?” raised an important question about the relationship between privilege and access to a life in the arts. Examining the upbringings of a number of artists currently or recently on view at museums in New York, Davis drew the conclusion that if[…..]

#Hashtags: Dominion

Diana Thater. Life is a Time-Based Medium, 2015. Three video projectors, three lenses, player and Watchout system; dimensions variable. Installation view at Hauser & Wirth, London, 2015. ©Diana Thater; photo by Alex Delfanne, courtesy Hauser & Wirth.

#museums #empathy #posthuman #Anthropocene #environment Recent headlines demonstrate that human beings are consistently terrible to one another, and it can be tempting to reject the human altogether. Drained by a year of public and private deaths, numb with exhaustion after having a child and returning to work, I entered Diana Thater’s mid-career retrospective at LACMA and found that those worldly concerns quickly fell away. Thater’s[…..]