Anuradha Vikram

From this Author

#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 / targophoto.com

#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[…..]

#Hashtags: Learn Where the Meat Comes From

Karen Kilimnik. The Hellfire Club episode of the Avengers, 1989. Fabric, photocopies, candelabra, toy swords, mirror, gilded frames, costume jewelry, boot,
fake cobwebs, silver tankard, audio media player, and dried pea. Dimensions variable. Whitney Museum of American Art, New York; Gift of Peter M. Brant, courtesy The Brant Foundation, 2014.106. Photo by the author.

#museums #access #collections #markets #historicity #gentrification With the arrival of the new Whitney Museum on Gansevoort Street, New York’s once notorious Meatpacking District completes lower Manhattan’s transition from a no-man’s-land populated by artists and outcasts to a stomping ground for fashionable elites. Befitting of an institution that represents the American art world—which has long positioned itself within both these groups, often simultaneously—the Whitney would seem[…..]

#Hashtags: Heart of Darkness

Sammy Baloji. Essay on Urban Planning, 2013 (installation view). Twelve colour photographs, each 80 x 120 cm 320 x 360 cm Courtesy the artist and Galerie Imane Farès, Paris © Sammy Baloji © Photo: Alessandra Bello. Belgian Pavilion, 56th Venice Biennale.

#imperialism #appropriation #representation #environment #postcolonialism #revolution Throughout the 56th Venice Biennale, one finds national pavilions that have taken up the postcolonial mantle of Okwui Enwezor’s central exhibition within the contours of their own relationships to imperialist histories. Among the most successful of these are Vincent Meessen’s Belgian pavilion, Personne et les Autres, and Fiona Hall’s Australian pavilion, Wrong Way Time. Both pavilions consider how the[…..]