Drawing

Amy Sillman: one lump or two at the Institute of Contemporary Art/Boston

Amy Sillman, C, 2007; Oil on canvas; 45 x 39 inches. Collection of Gary and Deborah Lucidon. Photo: John Berens.

Amy Sillman? All I can say is pentimenti. The artist’s working process provides so many transitory parts that the brain has to protect itself by combining them into a whole. The work comes to a rest, but hiding under the surface are two interpretive horizons: The complete painting and the individual paint strokes. The whole work is inseparable from each stroke, and yet the individual[…..]

Psychopaper at Piktogram

Ewa Ciepielewska (Luxus), untitled, 1984, watercolor, 99 x 68 cm. Courtesy of Piktogram/BLA, photo:

At 6 a.m. on December 13, 1981, General Wojciech Jaruzelski appeared on Polish television to declare martial law in effect throughout the country. Following his edict, for the next two and a half years citizens were stripped of their civil liberties: All borders and airports were closed, public gatherings were banned, independent organizations were declared illegal, and travel between cities required permission.* Curfew was imposed, and[…..]

Elijah Burgher: Friendship as a Way of Life b/w I’m Seeking the Minotaur at Western Exhibitions

Elijah Burgher. Excremental Philosophy Illustrated, Vol. 1, 2013; colored pencil on paper; 19" x 24". Courtesy of Western Exhibitions.

Elijah Burgher delves into the symbolic and uncanny in his one-man show Friendship as a Way of Life b/w I’m Seeking the Minotaur at Western Exhibitions. Large, painted drop cloths act as psychic doorways into an ancient universe of strange magic. On the other side, a confident series of colored pencil drawings feature unknown icons, nude men, or both. Excremental Philosophy Illustrated, Vol. 1 (2013) is[…..]

#Hashtags: The Trouble with the Mission School

Chris Johanson. The Survivalists, 1999. Mixed media; dimensions variable. 
Courtesy of the artist. Photo by Johnna Arnold/SFAI.

#access #gentrification #street art #painting #historicity A panel at the San Francisco Art Institute on October 20 in conjunction with the Walter and McBean Galleries exhibition Energy That is All Around – Mission School: Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri, posed the question: “Mission School: Yes or No?” The general consensus, both on the panel and in the wider Bay Area[…..]

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,[…..]

Andrew Nicholls: The Water Works at Turner Galleries

Australian artist Andrew Nicholls dredges the queasy aesthetics of sentiment for its submerged ideological content. In an ongoing thread of his practice, he locates the ideals and practices of British imperialism in the kitsch, seemingly innocuous world of 19th- and 20th-century ceramics, disrupting this historical narrative with traces of the otherness otherwise repressed in the imperial worldview. He subsumes his viewers in an unsteady undertow[…..]

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[…..]