Heather Van Winckle

From this Author

Alec Soth’s Broken Manual

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Many of us, at one point, have felt near our breaking point with the life we live and the sacrifices we have to make in order to even have that life. Escaping our day-to-day, or “the man” at large is at times the sweetest fantasy. Through a collection of portraits of the lives of men who have removed themselves from society,  Alec Soth’s Broken Manual[.....]

Berliner Culture and The Kidney Bean Burrito

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The natural tendency, when attending a show that promises to give you a sampling of a locale, is to define that culture through the exhibition’s cohesion. With everyone in Berlin identifying as an artist (a little hyperbolic), the saturation leads to a lot of “bad” art and “good” art, however you personally define it, making pinning down what is vital in the art world here[.....]

Constructing the Victim

Like a newspaper in its matter of fact presentation of content, Cady Noland / Santiago Sierra at KOW Berlin, curated by Alexander Koch and Nikolaus Oberhuber, appears purposefully removed of emotion. We never make eye contact with other humans, backs are often turned, or we find ourselves averting our eyes for our own protection.  We stand on the outside looking in. No one makes a[.....]

First-Person Reality: I Am Not Free Because I Can be Exploded Anytime

The year is 1999. Television has adapted to the more violent nature of man. Sterling Ruby‘s solo show at Sprueth Magers drops you into a space reminiscent of the real world, but reflected through an alternate lens. The main room feels overwhelming in scale, full of over-sized and crudely modeled ceramic sculptures, towering red dripping sculptures that look like some sort of giant animal’s tendons[.....]

Contest, Context, Content

The Curators Battle is a pretty direct title for an experimental concept event. The Grimmuseum hosted two curators, Carson Chan and Aaron Moulton, who each organized separate shows in adjacent galleries, pulling work from the same artists. For added drama, there was a vote to choose the better show. At it’s best, forcing the audience to consider the behind the scenes development of an art[.....]

Karin Sander at n.b.k.

My natural tendency, when looking at trash in an art gallery, is to play detective and treat the waste as anthropological evidence. For her solo show at Neuer Berliner Kunstverein, Karin Sander has cut six holes in the floor of the gallery’s administrative office where trash cans used to sit. Located directly above the gallery, the administration’s waste now falls down from the office space[.....]

Quit Marginalizing Yourself

Today we continue our week-long series Force of Failure. Stay tuned we have 4 more articles to present… FORCE OF FAILURE: DailyServing’s latest week-long series There are two main artist archetypes popular in our cultural ether. There is the pretentious, avant-garde artist whose genius can’t be explained but who commands a hefty fee for his work, and the stoner artist who lacks ambition and digs[.....]