Mixed Media

Robert Heinecken at Cherry & Martin

Robert Heinecken, Misc...Newswoman (Blue), 1984; Dye bleach print videograms, plexiglas frame; 1 of 5-part; 11 x 14 inches each, 27.94 x 35.56 cm each. Courtesy of Cherry and Martin, Los Angeles. Photo: Robert Wedemeyer.

Robert Heinecken is an artist who is hard to pin down. A photographer who rarely used a camera, he founded UCLA’s photography department in 1964. Skeptical of the documentarian role of photography, he mined images from mass media, prefiguring the appropriation strategies of Pictures Generation artists like Richard Prince and Sherrie Levine by at least a decade. Despite this, he was never able to achieve[.....]

Grid’s World at Locust Projects

In any survey of post-war abstract painting, an inescapable topic of discussion is the grid. Usual examples cite artists such as Agnes Martin and Ad Reinhardt, and the grid as aesthetic style typically bears descriptive qualities like “clinical,” “sterile,” and “objective”—words that have minimalistic sensibilities. However, as Zachary Cahill points out in an introductory text for Grid’s World at Locust Projects in Miami, grids are[.....]

#Hashtags: The Ideological Venice Biennale

Marino Auriti. The Encyclopedic Palace of the World, c. 1950s. Wood, plastic, glass, metal, hair combs, and model kit parts. American Folk Art Museum, gift of Colette Auriti Firmani in memory of Marino Auriti, 2002.35.1. Photo by the author.

The title of this year’s Venice Biennale, Il Palazzo Enciclopedico (The Encyclopedic Palace), illuminates the event’s political ideology via its philosophical and curatorial conceits. The main exhibition centers on a utopian fantasy of comprehensive knowledge, aspiring to a completist vision of human achievement with the caveat of inevitable failure built in. Though self-reflective in that sense, this theme does not acknowledge the long shadow of[.....]

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[.....]

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[.....]

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[.....]

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,[.....]