Articles

New Image Painting at Shane Campbell Gallery

New Image Painting, 2014; installation view, Shane Campbell Gallery, Chicago. Courtesy of the artist and Shane Campbell Gallery.

What sets New Image Painting at Shane Campbell Gallery apart from this year’s other sleepy season closers is not the work selected, which is a standard collection of represented artists and friends of the gallery, but rather an unusually confrontational framing within painting’s past and present history. As the curator’s statement explains, New Image Painting offers a “platform from which to critique the prevalence of[.....]

#Hashtags: Black Futurism: The Creative Destruction and Reconstruction of Race in Contemporary Art

nuri Kahiu. Pumzi, film still, 2009. Courtesy Focus Features Africa First Short Film Program.

#blackness #afrofuturism #identity #agency #mobility Today we’re partnering with our friends at ART21 Magazine to bring you Nettrice Gaskins‘ excellent consideration of “Black futurism as a form of creative expression [that] pushes against the conventional limits of black subjectivity.” This article was originally published on June 24, 2014, in the “Future” issue of ART21 Magazine. For the online research project Liquid Blackness, Alessandra Raengo reflects on[.....]

Kenturah Davis: Narratives and Meditations at Papillion

Kenturah Davis. Narrative IV, 2014; grease pencil on paper, Wenge wood box; 75 x 54 in. Courtesy of the Artist and Papillion, Los Angeles.

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, Anna Martine Whitehead reviews Kenturah Davis: Narratives and Meditations at Papillion in Los Angeles. As an artist playing with the limits of realism, Kenturah Davis points to[.....]

Women in Performance: Rigorous Ecstasy – Language & Performance, Part I

Carolee Schneemann. Correspondence Course (triptych), 1980/1983, self-shot silver prints mounted on silk-screened text; 30 x 20 inches. Courtesy of the Artist and PPOW Gallery, New York. © Carolee Schneemann.

Today from our friends at Art Practical, we bring you the first installment of the new column “Women in Performance,” which kicks off with an interview between author Jarrett Earnest and artist Carolee Schneemann. To quote from the column’s introduction: “Impelled by painting, Schneemann has plumbed the history of images, embodiment, and language since the 1950s, creating pioneering performances, films, installations, sculptures, and drawings. This two-part interview focuses[.....]

Fan Mail: Lisa Wicka

Lisa Wicka. Construction of Self (detail), 2013; House paint, vintage wallpaper, laminate flooring, wood and chalk line; two interior spaces: 5 x 7 x 15 feet and 4 x 5 x 6 feet. Courtesy of the artist.

At the heart of Lisa Wicka’s artwork is a set of keenly nuanced spatial and visual adaptations. Her work transforms motifs, compositions, and ideas—human figures, abstract shapes, and reinterpretations of physical and perceived spaces—into unified bodies. Her small canvases, combine-like sculptures, and large-scale installations all mark their spaces of display with striking gravity. Most arresting is Wicka’s ability to create compositions that profoundly alter visual[.....]

Erick Beltrán, interviewed by Rodrigo Ortiz Monasterio

erick_beltran_01

Today we bring you a video of artist Erick Beltrán at the Museo Tamayo in Mexico City, discussing his work Atlas Eidolon, a sculpture that addresses the question of memory, or “what lives in our heads and how things appear in the world.” This video was produced by our friends at Kadist Art Foundation.

Yaakov Israel: The Quest for the Man on the White Donkey at the Halsey Institute for Contemporary Art

Yaakov Israel. Abandoned Water Park, Dead Sea, 2010; c-print. Courtesy the artist and the Halsey Institute of Contemporary Art, Charleston, South Carolina.

In 1981, John Baldessari said, “Probably one of the worst things to happen to photography is that cameras have viewfinders…” but artist Yaakov Israel would certainly disagree.[1] Israel’s photographs in The Quest for the Man on the White Donkey at the Halsey Institute for Contemporary Art in Charleston, South Carolina, are carefully constructed. Israeli-born and -based, Israel relishes the serendipitous encounters he’s had while exploring[.....]