Interview with Adriana Lara

Today from our friends at Kadist, we present a video interview with Adriana Lara. In it, Michele Fiedler talks with Lara about her relationship to the readymade, the exhibition, and the wearable. This video was originally published October 6, 2015.

Paul Graham: The Whiteness of the Whale

Paul Graham. New Orleans (Cherries), 2005. Courtesy of the Artist and Pier 24 Photography, San Francisco.

By further playing up these perspectives through the massive scale of the photographs, Graham leaves a viewer feeling uncomfortable about accepting these imposing yet generic visualizations of economic standing.

Leif Anderson: TATTARRATTAT at Melanie Flood Projects

Leif Anderson. Purple Slurry, 2015; installation view, TATTARRATTAT, 2015. Courtesy of the artist and Melanie Flood Projects. Photo: Worksighted.

The word “Tattarrattat” was first birthed in James Joyce’s 1922 novel, Ulysses. It’s the longest palindromic word in English literature and an unmistakable onomatopoeia that takes inalienable form only in a moment we can collectively imagine: a furious rapping at the door. Such phrases within Joyce’s Ulysses and Finnegans Wake make him a legend amongst Modernist writers who are trepidatious about inventing words where none[…..]

Raiders and Empires

Stephanie Syjuco. Empire/Other: Morphset E, 2013 (video still); 3D animated video. Courtesy of the Artist and FLACC Workplace for Visual Artists, Belgium.

In these projects Syjuco harnesses technologies of distribution and reproduction—the web, photography, and 3D scanning and printing—to create objects that reveal the tangled history of colonization and cultural hybridization.

Women’s Work at Smith College Museum of Art

Guerilla Girls. The Advantages of Being a Woman Artist from Guerilla Girls, Most Wanted, 1985–2006, 1988; lithograph printed in black on paper, 17 x 22-1/8 in. Courtesy of Smith College Art Museum, purchased with the gift of the Fred Bergfors and Margaret Sandberg Foundation.

The exhibition Women’s Work is constructed within a historical frame. All of the included artists are introduced as individuals prominent in second-wave feminism, defined as a past era from the 1960s through the 1980s, a period with a beginning and an end. It cannot be denied that a great deal has changed in both feminist thought and social mores since then. Third-wave feminism called out[…..]

Sheila Pree Bright: 1960Now at the Museum of Contemporary Art of Georgia

Sheila Pree Bright. BringIt, 2015; chalkboard. 1960Now, installation view, The Museum of Contemporary Art of Georgia. Courtesy of the Artist.

1960Now, on view at the Museum of Contemporary Art of Georgia, is an expansion of photographer Sheila Pree Bright’s continued interest in naming and documenting the unknown leaders of African American social movements: the influential agitators, groundbreakers, and activists whose names might not have been Rosa, Martin, or Malcolm. In her latest photographic project, Bright points to a new generation of faces experiencing frustrations and[…..]

Özlem Altin at Kiria Koula

Özlem Altin. Sleeping statue, 2013; print on litho paper; 27 ½ x 22 in. Courtesy of the Artist and Kiria Koula, San Francisco. Photo: John White.

From our partners at Art Practical, today we bring you a review of Özlem Altin’s current solo show at Kiria Koula in San Francisco. Author Zachary Royer Scholz declares: “Özlem Altin’s exhibition at Kiria Koula is a wonderful rarity. It does not present viewers with clear answers because it is not the finished result of an exploration. It is an exploration in progress, in which viewers participate—a generous[…..]