New Media

Art(ists) on the Verge at the Soap Factory

Katie Hargrave, In Poor Tastes Good, 2014; mixed media, dimensions variable. Courtesy The Soap Factory. Photo by Lillian Egner.

Now through April, the sprawling, rough-and-tumble brick spaces of Minneapolis’ Soap Factory are filled with installation projects by five artists—the Art(ists) on the Verge, as it were. It is not quite fair to consider Art(ists) on the Verge as a single exhibition, as there is no curatorial or artistic conceit to cement the various projects into a cohesive entity. The works on view are the[…..]

White Hot Lamp Black at Southern Exposure

Hillary Wiedemann. Transit of Venus, 2013 (video still); color HD video; 2:50. Courtesy of the Artist.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Suzanne L’Heureux reviews White Hot Lamp Black at Southern Exposure in San Francisco. Southern Exposure’s group exhibition White Hot Lamp Black explores the edges of perception, featuring artists who[…..]

Feeling Is Mutual at Chicago Artists Coalition

Latham Zearfoss, Court of Apology #1 (COPA #1), 2014. Plexiglas, wood, subwoofer, audio. Courtesy of Chicago Artists Coalition.

Steven L. Bridges’ catalog essay for Feeling Is Mutual at Chicago Artists Coalition invokes a quote by Marcel Duchamp as a mission statement for this exhibition of performance and relational art works. Duchamp’s quote reads, “The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the[…..]

Graeme Patterson: Secret Citadel at the Art Gallery of Hamilton

Patterson_Graeme animation still 7

Despite its universal connotations, Secret Citadel, a mixed-media installation and video projection by Canadian artist Graeme Patterson, explores the nuances of male bonding and friendship from an intensely personal perspective. The narrative of the exhibition, currently on view at the Art Gallery of Hamilton, unfolds in four parts featuring two distinct characters—a bison dressed in blue and a cougar dressed in orange—at seemingly disparate stages[…..]

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,[…..]

Camille Henrot: Cities of Ys at the New Orleans Museum of Art

Camille Henrot. Cities of Ys, 2013 installation view. Courtesy of the Artist and Gallery Kamel Mennour

French video artist Camille Henrot creates parallels between the mythical and the contemporary. In her first solo exhibition in the United States at the New Orleans Museum of Art, she investigates the legendary city of Ys in France and the vanishing coastal area of southern Louisiana that is occupied by the ancestral Houma Indians. Coastal erosion, in real and mythical tales, is at the heart[…..]

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[…..]