Conceptual

Iñigo Manglano-Ovalle at moniquemeloche

Something tells me the National Security Administration is monitoring Iñigo Manglano-Ovalle’s phone calls, and not just because the NSA monitors everyone’s phone calls. Since the early days of the War on Terror, the artist has built up an impressive arsenal of devastation. Starting in 2003 with Cloud Prototype 1 – a shiny amorphous blob reminiscent of a mushroom cloud, or a deformed variation of Warhol’s[.....]

The Fun of the Fair: Sydney Contemporary

Kim Joon, Bird Land - Chrysler, 2008, digital print, 47 x 83 inches, Sundaram Tagore Gallery, Hong Kong, New York, Singapore

Depending on who you ask, anywhere between eight thousand and thirteen thousand people attended the vernissage of the world’s newest art fair, Sydney Contemporary. By the end of three and a half days, the fair had attracted almost twenty-nine thousand visitors eager to see the offerings from eighty-three Australian and international galleries, presenting the work of more than three hundred artists. The physical scale was[.....]

A Rose Has Bite

Bruce Nauman. From Hand to Mouth, 1967; wax over cloth; 28 x 10.13 x 4 in.

As part of our ongoing partnership with Art Practical—and to celebrate its new website—today we bring you an article that considers the exhibition A Rose Has No Teeth: Bruce Nauman in the 1960s. Written by Leigh Markopoulos and originally published on September 11, 2013, the article looks at Nauman’s exhibition, its legacy, and the questions it raises for the future. Markopoulos asks, “If we accept that[.....]

Lick ’Em by Smiling: Jeremy Deller and Shary Boyle at the Venice Biennale

If the Venice Biennale is the United Nations of contemporary art, then the Giardini is its Security Council. The park’s stately pavilions belong to the (mostly European) nations that were best situated to claim them in the early- to mid-twentieth century. National pavilions are organized by state entities and can be counted on to present a government-sanctioned view of art, which tends toward the conceptually[.....]

Long Ago and Not True Anyway at Waterside Contemporary

Mekitar Grabedian, MG, 2006 (still); Video; 2:05. Courtesy of Waterside Contemporary, London.

In Long Ago and Not True Anyway at Waterside Contemporary, curator Pierre d’Alancaisez explores a kind of history that exists beyond the dry material of archives, records, and established national narratives. Instead, in this small London gallery nearly hidden around a corner among Islington’s high-density residential buildings, this exhibition’s artists and artworks blur the borders between uncertain subjective experience and the history it inhabits. Taking[.....]

From the Archives: Interview with Lukasz Jastrubczak

Today in From the DS Archives we bring you an interview with Polish artist Lukasz Jastrubczak. Jastrubczak and his collaborator Małgorzata Mazur are currently exhibiting work in The Day Is Too Short at the Wrocław Contemporary Museum in Wrocław, Poland, through October 21, 2013. Jastrubczak also has work in Spojrzenia, the Deutsche Bank Foundation Award at the Zacheta National Gallery of Art in Warsaw, through November 17, 2013. The interview was conducted by[.....]

Sculptures Remix Modern Art and Native American Tradition

Jeffrey Gibson. Portal, 2013; elk hide over birch panel, graphite, acrylic and oil paint; 60 x 48 x 2 1/2 in.

As part of our ongoing partnership with Beautiful/Decay, today we bring you an article about the work of Brooklyn-based Jeffery Gibson, who explores his Choctaw and Cherokee background in a solo exhibition at Shoshana Wayne Gallery through October 26. Author Danny Olda notes, “Gibson inserts himself and his heritage into art history: by [...] smart mixing and remixing.” This article was originally published on September 11,[.....]