Conference

Value/Labor/Arts: A Primer

Anna Gray + Ryan Wilson Paulsen. 100 Posterworks, 2009-2013; printed poster; 11 x 17 in. Courtesy of the Artists.

“When is it okay to work for free? Is it acceptable as long as you’re working with—or for—another artist? What is an artistic service?” These are some of the questions raised by Shannon Jackson, director of UC Berkeley’s Arts Research Center, in her introduction to Art Practical‘s latest issue, Valuing Labor. She notes, “These are just a few of the hundreds of questions circulating for artists working in the 21st-century[.....]

Sculpture after Sculpture at the Art Center College of Design

Name at the Sculpture after Sculpture Panel Discussion, Art Center College of Design. Photo: Chris Hatcher

Last Saturday, curator and Artforum editor-at-large Jack Bankowsky moderated a roundtable on “Sculpture after Sculpture” (more on the title in a moment) at the Art Center College of Design in Pasadena, in anticipation of his forthcoming three-artist survey of the same name at the Moderna Museet in Stockholm this October. The three artists, Katharina Fritsch, Jeff Koons, and Charles Ray, are united by work that[.....]

If the World Changed: Singapore Biennale 2013

Teamlab. Peace Can Be Realized Even Without Order, 2012; interactive digital installation; dimensions variable. Courtesy of the Artist and Singapore Art Museum.

Premised on the obliquely hypothetical question “What if the world changed?”, the Singapore Biennale 2013 (SB2013) is presented as a deconstructed entity centered on allusive keywords—or “tags” in internetspeak—such as “histories,” “intervention,” and “materiality” in order to highlight the transmutative and the transformative qualities of the art produced in the region. With a collaborative team of 27 curators instead of an artistic director helming the show,[.....]

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[.....]

Zhang Rui’s One Year at 4A Centre for Contemporary Asian Art

In 2007 young artist Zhang Rui, then newly graduated from the Tianjin Academy of Fine Arts, was one of 1001 Chinese citizens selected by Ai Weiwei through his blog to participate in his project Fairytale for Documenta 12. The experience proved to be a transformative one. Her body of work One Year is showing at Sydney’s 4A Centre for Contemporary Asian Art. Small works, painted with[.....]

Idea People

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L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley In 1983, art historian T.J. Clark delivered his paper, “More on the Differences Between Comrade Greenberg and Ourselves” at the Vancouver conference, Modernism and Modernity. Clement Greenberg, the critic who named kitsch “the epitome of all that is spurious” and had a Pollock hanging in his bathroom, was in the audience. I[.....]

State of Independence

It’s the end of an era here in Los Angeles: the era of Clara.  August 1, 2011, marks the day that Clara Kim, the outgoing gallery director and curator of Los Angeles’s REDCAT, officially begins her new post as Senior Curator of Visual Arts at the Walker Art Center.  Minneapolis’s gain is Los Angeles’s loss. Over the last eight years, Kim has focused on contemporary[.....]