Drawing

AFRICOBRA: Philosophy at the Logan Center

Barbara Jones-Hogu, "Unite," 1968-71; screenprint; 25.5 x 35 in. Courtesy of the artist and Logan Center for the Arts.

The assembly of works by AFRICOBRA (African Commune of Bad Relevant Artists), a collective of African American Chicago-based artists active during the 1960s and 1970s, now on display at the Logan Center for the Arts could fairly be described as a time capsule; it is more important for the moment it captures than for its contents. In addition to this exhibition, titled AFRICOBRA: Philosophy, the collective currently has two other[.....]

The Transcendental Trash of Thomas Lanigan-Schmidt

Thomas Lanigan-Schmidt. The Fountain of Youth (Spritzer Thaw), 1969; Aluminum foil, plastic wrap, pipe cleaner, holographic tape, glitter, staples, mirror, colored marker; 13 x 10 x 9 in. Courtesy of the artist and Pavel Zoubok Gallery, New York.

Thomas Lanigan-Schmidt makes kitsch from the kitchen, using everyday materials such as cellophane, glitter, foil, and Easter-display grass to construct minutely detailed and coded ephemera that sanctify camp, trash, and a kind of queer sentimentality particular to the artist’s experience of the 1970s Hell’s Kitchen scene in New York. Ecce Homo, Pavel Zoubok Gallery’s current three-part exhibition, orbits around this artist’s counter-historical queer aesthetic. On the heels of his extensive[.....]

Enrique Chagoya: Freedom of Expression

Enrique Chagoya. The Pastoral or Arcadian State, Illegal Alien’s Guide to Greater America, 2006; color lithograph. Courtesy of the artist and Shark's Ink. Photo: Kala Art Institute.

Code-switching is the linguist’s term for substituting one language for another in the course of a single conversation. “Oye, Teacher Bean,” a student once told me, “I couldn’t do mi tarea because mi tia was late and I had to watch mi sobrino hasta medianoche.” Notice that even though the sentence ping-pongs between Spanish and English, it’s still grammatically correct. To code switch, you need[.....]

Organism/Mechanism: Michael Theodore at David B. Smith Gallery

Michael Theodore, endo/exo (2013), installation view, dimensions variable, courtesy of David B. Smith Gallery and the artist.

When you enter your local supermarket, the door will most likely slide open automatically, welcoming you as it senses your presence. There’s nothing remarkable about that, you’re accustomed to the simple technology of motion sensors. What is remarkable is that technological fixtures such as motion sensors have become so ubiquitous that we scarcely notice them anymore. They are a part of your daily routine, a[.....]

Tracey Emin at Lehmann Maupin: The Carry

Tracey Emin’s work presents an unfiltered and often embarrassingly personal view of emotional pain. It reflects the kind of desperate or careless narcissism that is the territory of the depressed. Emin is concerned with the primacy of her own experience—and the narrative of her own sadness is the unabashed subject of her work. Emin’s oeuvre has always felt most valuable to me in terms of[.....]

New Waves, Korea

A dominant feature of contemporary Asian art has always been the reflection of cultural and historical frameworks within which such works are produced: firmly entrenched in tradition, yet forward-looking thanks to the far-reaching changes – and homogenisation – brought about by the formidable impact of globalisation. Even though artistic production in South Korea seems to follow this trend, it is problematised by the emergence of[.....]

Falling from Great Heights

As a part of our ongoing partnership with the San Francisco-based arts publication Art Practical, today we bring you a review by Matt Stromberg of the exhibition Falling From Great Heights at Stephen Cohen Gallery in Los Angeles. Falling from Great Heights, the current exhibition at the Stephen Cohen Gallery, takes its title from a quotation by the astronomer Carl Sagan that addresses the sublime and ineffable nature of the universe: “The[.....]