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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[.....]

Fan Mail: PUTPUT

Objective Ambition #1, 2012; sculpture; dimensions variable. Courtesy of the artist.

PUTPUT is the Swiss and Danish artist duo of Stefan Friedli and Ulrik Martin Larsen. Though they primarily work in photography, their medium seems secondary—it’s merely the most effective form for documenting their work. The duo re-imagines objects and captures eccentric still-life setups, photographs, and object re-imaginings that open up an entire world of potential visual and sculptural combinations. The objects they create range from[.....]

Homecoming! Committee’s Post Communiqué at the Dallas Museum of Art

Homecoming! Committee. ARTFORUM, 1963 (2013); Modified magazine pages and paper; 10.5 x 10.5 x .5 inches. Courtesy of Homecoming! Committee "archives."

The contrast between established arts institutions and alternative spaces is often stark—different areas of town, different audiences in attendance, different coverage (if any) from very different publications. Artforum has a ten-page spread on the latest from Martin Kippenberger, while the arts and culture section of a local blog has two hundred words on an emerging artist. But the rare moments when the two worlds collide[.....]

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[.....]

Experimental Photomontage at Robert Koch Gallery

Robert Heinecken. From the portfolio Recto/Verso, 1989; Cibachrome (dye destruction) photogram; 11 x 14 in. Image courtesy of Robert Koch Gallery, San Francisco.

As part of our ongoing partnership with Art Practical, today we bring you a review of Robert Heinecken and Edmund Teske’s work in experimental photomontage at Robert Koch Gallery. Author Genevieve Quick analyzes the artists’ use of appropriation and their take on gender and mass media. She notes, “…there’s always more to the message than what’s on display.” This article was originally published in May 2012. Robert[.....]

Parkett: 220 Artist Editions and Collaborations since 1984 at Taipei Fine Art Museum

Parkett: 220 Artist Editions and Collaborations since 1984, 2013; installation view, Taipei Fine Art Museum.

Currently on view at Taipei Fine Art Museum, Parkett: 220 Artist Editions and Collaborations since 1984 is the 10th edition of international art journal Parkett’s traveling retrospective. Since its debut at the Museum of Modern Art in 2001, the exhibition has toured across the globe via a network of museums spaces including London’s Whitechapel Art Gallery, Singapore’s Tyler Institute, and Beijing’s Ullens Center of Contemporary Art.[.....]

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[.....]