Thomas Hirschhorn: In-Between at South London Gallery

Thomas Hirschhorn. In-Between, 2015; installation view, South London Gallery, London. Courtesy Thomas Hirschhorn. Photo: Mark Blower.

Thomas Hirschhorn’s show at the South London Gallery is a precarious, postapocalyptic mess. Collapsing floors are propped up with broken posts, and adjoining walls are held together by packing tape, which creates a foreboding sense that the installation could come down on the viewers at any moment. Yet the actual threat of fabricated precariousness is quite different than the threat posed to the viewer who[…..]

Mona Hatoum at ICA Boston

Mona Hatoum. Natura morta (Edwardian vitrine), 2010; Murano glass and cabinet; 54 ½ x 24 x 11 ¾ inches. The Institute of Contemporary Art, Boston. Gift of Barbara Lee, The Barbara Lee Collection of Art by Women. Courtesy of Alexander and Bonin. Photo: Joerg Lohse.

Mona Hatoum’s solo exhibition, currently on view at Boston’s Institute of Contemporary Art, is made entirely of newly gifted works from philanthropist and political activist Barbara Lee. The Barbara Lee Family Foundation is focused on advancing female representation in politics. Lee is a major supporter of Hilary Clinton, in addition to being a collector who has shifted her focus exclusively to female artists. At the[…..]

Happy Labor Day!

Anna Gray + Ryan Wilson Paulsen. Can These Antiques Ever Prove Dangerous Again?, 2012.

In honor of Labor Day, today we want to thank the publications that made our Summer Reading series a success. We were honored to host articles from Artforum, Art Papers, Art Practical, the Brooklyn Rail, East of Borneo, Frieze d/e, Hyperallergic, MN Artists, MN Original, MOMUS, Rhizome, SFMOMA’s Open Space, Temporary Art Review, and un Magazine. And we credit the labors of the artists and writers,[…..]

From the Archives – Material Practices: Stitching, Fabric, and Textiles in the work of Contemporary Chinese Artists

Yin Xiuzhen, Portable City, Sydney, 2003       photo: Yin Xiuzhen         collection by Sherman Contemporary Art Foundation, image courtesy the artist

For Labor Day weekend, we bring you this piece from the archives that deals with gendered, often invisible labor—the kind not celebrated on national labor days. Luise Guest explores the work of several contemporary Chinese women artists using embroidery in revolutionary ways. This review was originally published on January 10, 2014. Mao Zedong once said that revolution is not a dinner party. Less famously, he said[…..]

Summer Reading – The Post-Human Animal

Katja Novitskova, Branching I, 2013, Digital print on aluminium and cut-out display (courtesy: the artist, Fluxia gallery, Milan & Kraupa-Tuskany Zeidler, Berlin)

For the final entry in our Summer Reading series, we bring you Ana Teixeira Pinto’s essay on the recent trend in artworks featuring animals. She notes: “Replacing an obsolete notion of the ‘human,’ perhaps the animal has become the new face of humanity.” This article was originally published in issue 19 of Frieze d/e in May 2015. In the late 1940s, the Russian-born French philosopher Alexandre[…..]

Summer Reading – Notes to Self

Miguel Gutierrez. Age & Beauty Part 2, 2015; Performance view, January 14, 2015, Abrons Arts Center, New York. Photo: Ian Douglas.

As we near the end of our Summer Reading series, we bring you Claudia La Rocco’s meditations on the American Realness Festival. The author asks, “Playing to the intelligentsia for cheap laughs while the world burns: Does anybody still need to own this in 2015?” This article was originally published in Artforum on January 29, 2015. I’ve just deleted the three hundred words I’d written to start[…..]

Summer Reading – Has the Internet Changed Art Criticism? On Service Criticism and a Possible Future

(L-R) Christopher Knight, Ryan Schreiber, Isaac Fitzgerald and Orit Gat. (Superscript 2015. Photographer: Gene Pittman. Courtesy the Walker Art Center, Minneapolis)

Today we continue our Summer Reading series with a provocative essay on “service criticism” by author Orit Gat. She offers, “It may be discouraging to close on an optimistic note that basically means, ‘You’re gonna have to pull out your credit card/sign in with your Paypal/Apple Pay/whatever digital wallet we’ll all be using use at some point in order to get the kind of criticism[…..]