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Remembering the Dead

Joseph Grigely. The Gregory Battcock Archive, 2009-2014; Installation view, Whitney Museum of American Art.
Courtesy of Air de Paris, Paris. Photo: Andrés Ramírez.

From our friends at Bad at Sports, today we bring you another assessment of the Whitney Biennial, which closes this coming Sunday. Author Jessica Cochran examines the archival nature of the current exhibition and notes, “…as the art world grows ever bigger in size and speed, one can only hope that the Whitney Biennial continues to make room for the discursive, textual, and ‘tossed-aside particulars.’” This[…..]

Michael Craig-Martin: Objects of our Time at Alan Cristea Gallery

(from left to right) Michael Craig-Martin. Objects of our Time: Takeaway coffee, 2014; Objects of our Time: Memory stick, 2014; both works, series of 12 screenprints, edition of 50; 50.0 x 50.0 cm. Courtesy the Artist and Alan Cristea Gallery. NPC.

Is a glass of water just a glass of water? Consider it for a fraction of a second and suddenly the glass of water carries a lot of Kosuthian baggage—the mind attaches a label to it, compares it to an ideal, then judges its function, and its value changes. Deconstruct the contextual outcome of that mental layering, and the glass of water not only offers[…..]

Borna Sammak: All Dogs Are Pets at JTT

Borna Sammak. All Dogs Are Pets, 2014; installation view, JTT, New York. Courtesy of the artist and JTT.

All Dogs Are Pets, Borna Sammak’s current solo exhibition at JTT, presents sculpture, painting, and video full of glowing references to 1990s American suburbia. Trafficking in the humorous young boys’ fare of canceled Nickelodeon cartoons, Sammak’s pieces are composed of sometimes repurposed, sometimes refabricated objects you might find at a Wal-Mart or strip-mall store. His work draws from the cultural garbage can, creating an aesthetic[…..]

Sarah Lucas: Nud Nob at Gladstone Gallery

Sarah Lucas.
Chicken Knickers, 2014;
Digitally printed wallpaper.
Photo: David Regen.
Copyright Sarah Lucas.
Courtesy Gladstone Gallery, New York and Brussels

The circulation of images from Sarah Lucas’ Nud Nob, now at Gladstone Gallery, on social media and elsewhere seems bound to be both blessing and curse. On the one hand, shots of enormous concrete penises resting on crushed automobiles, or a series of floor-to-ceiling photographs of a woman consuming a banana, really propagate themselves, which makes for great publicity. But those who encounter these images are[…..]

Julia Rometti & Victor Costales: Savage Palms, Worn Stones, Moonshine Vision at Midway Contemporary Art

Julia Rometti & Victor Costales, Ediciones del Exotismo Ordinario Internacional Neotropical (detail), ongoing from 2011, digital prints on newsprint paper (lapel revolución). Courtesy Midway Contemporary Art. Photo: Caylon Hackwith.

At Midway Contemporary Art in Minneapolis, dueling 35mm slide projectors whir and click in a darkened back room. Perched on top of two of the room’s many bookcases (this backroom also houses Midway’s impressive library), these projectors cast their images onto a shared center screen. Each slide contains a simple form on a white background: a single geological mass anchored by a heavy shadow. Overlapped[…..]

Valentina Vannicola: Dante’s Inferno

Inferno. Tolfa, Rome, Italy, April 2010 February 2011. ### Infer

In Dante’s Inferno Italian artist Valentina Vannicola merges staged photography with socially engaged practice, resulting in a rich body of work reminiscent of the postdramatic theater of Romeo Castellucci and the Societas Rafaello Sanzio. Using non-professional performers from her hometown of Tolfa, north of Rome, Vannicola has constructed absurdist scenes recreating Dante’s journey through the strata of hell. While the outcome could easily have been[…..]

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,[…..]