Artist Videos

Paradise Lost at the Centre for Contemporary Art, Singapore

Trinh T. Minh-ha. Surname Viet Given Name Nam, 1989 (film still); 16mm; 108 min. Courtesy of Moongift Films.

“Southern Asia, in general, is the seat of awful images and associations. As the cradle of the human race, it would alone have a dim and reverential feeling connected with it… [the] mere antiquity of Asiatic things, of their institutions, histories, modes of faith, &c., is so impressive, that to me the vast age of the race and name overpowers the sense of youth in[.....]

Subverting the Sublime: Wondermountain at Penrith Regional Gallery

Hua Tunan, Fluorescent impression shanshui, 2013, spray paint, 300 x 500, image courtesy the artist

It seemed entirely appropriate that my journey to see Wondermountain at the Penrith Regional Gallery and Lewers Bequest was through rain, a concrete landscape of freeways and overpasses obscured by my windscreen wipers. I arrived beside the swollen Nepean River, the Blue Mountains shrouded in mist, reflecting on the continuing importance of shanshui (mountain/water) painting. A poetic approach to representing landscape evolving from the Tang Dynasty, the[.....]

Pattern Recognition at MoCADA

Pattern Recognition, currently on view at Brooklyn’s Museum of Contemporary African Diasporan Arts, focuses primarily on the paradox of explaining abstract painting. Though designed as a straightforward, contemporary group show featuring new work from established artists, Pattern Recognition must be viewed within the context of a museum whose focus is on community dialogue and education. The hand of Dexter Wimberly, the independent curator behind the[.....]

Postscript: An Ambitious Take on Conceptual Art and Writing at the Power Plant

Kenneth Goldsmith, Soliloquy, 1996.

Upon entering Toronto’s Power Plant Contemporary Art Gallery to see Postscript: Writing After Conceptual Art, the viewer is immediately confronted by a raucous wash of sonorous elements. Over fifty artists and conceptual writers occupy the gallery space; canonical works from Andy Warhol, Sol LeWitt, Marcel Broodthaers, Carl Andre, and Dan Graham are nestled among pieces by contemporary practitioners, contributing to the sense of saturation. Originally curated[.....]

Perchance to Dream at Andrea Meislin Gallery

Adi Nes, Untitled, 1999 Digital C-print

Perchance to Dream, a group exhibition on view at New York’s Andrea Meislin Gallery, features twenty-five international artists’ photographs that relate to the Shakespeare quote referenced in the show’s title. We see napping children, embracing couples in bed, homeless men on the street, passed-out teenagers on the beach, and even an abandoned, sleeping dog. We also see the strange addition of soiled and torn mattress “landscapes,” presented[.....]

ICP Triennial: A Different Kind of Order

A Different Kind of Order, the International Center of Photography’s Triennial, includes artworks by twenty-eight international artists whose photographs, films, sculptures, video, and mixed-media works focus on the intersection of modern image making and our technologically advanced contemporary culture. The artists bring light to the nuances of our “new” world’s challenges, whether they are newfangled or all too familiar. Moving between the application and denial of[.....]

The XEROX BOOK

In December of 1968, Seth Siegelaub and Jack Wendler published The XEROX BOOK, an exhibition produced entirely in book form. The project included seven contributing conceptual artists: Carl Andre, Robert Barry, Joseph Kosuth, Sol LeWitt, Douglas Huebler, Robert Morris and Lawrence Weiner. The Kadist Art Foundation in San Francisco recently spoke to Jack Wendler about The XEROX BOOK offering a unique glimpse into the history[.....]