Reviews

Follicular: The Hair Stories of Sonya Clark at the Taubman Museum of Art

Sonya Clark. The Hair Craft Project: Hairstyles on Canvas, 2013; silk threads, beads, shells, and yarn on canvas; 29 x 29 inches. Courtesy of the Artist and the Taubman Museum of Art, Roanoke, VA.

Follicular: The Hair Stories of Sonya Clark at the Taubman Museum of Art highlights the historically rich and embodied power of Black hair, demonstrating that hair is a medium as well as a message.[1] For Clark, whose work holds a significant place in the burgeoning discourse of American contemporary craft, Black hair is an aesthetic language on par with the legacies of quilting and textile[…..]

From the Archives – Taravat Talepasand: Not an Arab Spring at Beta Pictoris Gallery

. Taravat Talepasand. Khomeini, 2015; egg tempura on linen; 48 x 36 in.

Spurred by recent elections in the US and abroad, there’s been a resurgence of interest by artists and critics alike in so-called “political art.” Today from our archives we bring you a review of Taravat Talepasand’s work at Beta Pictoris; author Jordan Amirkhani argues that Telepasand’s work operates much in the same way as Andy Warhol’s, wherein a cultural actor becomes a symbolic fetish to[…..]

Edgar Arceneaux: Written in Fire and Smoke

Edgar Arceneaux, Until, Until, Until…, 2016; HD video installation, spotlights, coat stand, makeup table, stool, clothing, hats, shoes, drop curtains, bar, monitors, book. Co-commissioned by the MIT List Visual Arts Center and Performa 2015. Courtesy of the artist and Susanne Vielmetter Los Angeles Projects.

Edgar Arcenaux’s exhibition at MIT’s List Visual Arts Center, Written in Fire and Smoke, is relatively modest in scale, occupying the List’s two main galleries. But while the exhibition is physically constrained, conceptually it is oversized—colossal, even. Written in Fire and Smoke is comprised of three bodies of work, all of which manifest through different material approaches. All, however, share the complexity that defines Arceneaux’s[…..]

Beverly Buchanan: Ruins and Rituals at the Brooklyn Museum

Beverly Buchanan. Untitled (Double Portrait of Artist with Frustula Sculpture), n.d.; black and white photograph with original paint marks, 8 ½ x 11 inches. ©Estate of Beverly Buchanan, Courtesy of Jane Bridges and the Brooklyn Museum.

A comprehensive and long overdue exhibition of Beverly Buchanan’s work kicks off A Year of Yes: Reimagining Feminism at the Brooklyn Museum—a yearlong program of ten exhibitions celebrating the first decade of the museum’s Elizabeth Sackler Feminist Art Center. In a time when voices of misogyny and white supremacy are gaining renewed validation in national political discourse, exploring assumptions around feminism and what feminist art[…..]

The Art of Citizenship: Mierle Laderman Ukeles at the Queens Museum

Mierle Laderman Ukeles. Sanitation Celebrations: Grand Finale of the First NYC Art Parade, Part I: The Social Mirror, 1983; garbage collection truck, tempered glass mirror, and acrylic mirror; 28 x 8 x 10 1⁄2 ft. Created in collaboration with DSNY. Courtesy of the Artist.
Mierle Laderman Ukeles. Sanitation Celebrations: Grand Finale of the First NYC Art Parade, Part I: The Social Mirror, 1983; garbage collection truck, tempered glass mirror, and acrylic mirror; 28 x 8 x 10 1⁄2 ft. Created in collaboration with DSNY. Courtesy of the Artist.

Today from our sister publication Art Practical we bring you Aruna D’Souza’s reflections on Mierle Laderman Ukeles at the Queens Museum. This article was published as part of Art Practical’s issue 8.1: Art + Citizenship. D’Souza states  “[Ukeles] work, and the role of the artist that her work inscribed, makes a powerful argument for the artistic possibilities of citizenship—and the responsibilities, obligations, and collective pleasures[…..]

From the Archives – La Polis Imagi-nada at El Quinto Piso

Liz Misterio. El regreso de Ana Suromal, 2015 (action-art still); action-art and video projection. Courtesy of the artist and El Quinto Piso, Mexico D.F. Photo: Liz Misterio.

While nation-states elect or appoint internationally recognized power brokers, real politics emerge on the ground in the lived experiences of our communities, in the polis. In the face of shifting national and international politics, local communities must commit to uphold human rights. In that spirit, San Francisco’s Board of Supervisors recently dismissed threats of funding cuts by the President-elect and affirmed the city’s commitment to[…..]

Spectres at Mor Charpentier

Fredi Casco. The Return of The Sorcerers, Vol. 1, 2005; Digital print; 7.8x9.8 in. Courtesy of the artist.

Phantoms of Latin American conflicts loom in Spectres, an exhibition by Fredi Casco, Teresa Margolles, and Rosângela Rennó at Mor Charpentier gallery in Paris. Inspired by Roland Barthes’ seminal text Camera Lucida, the exhibition organizes itself around the concept of the spectrum, as understood by Barthes—who wrote the book while trying to symbolically conjure the presence of his recently deceased mother—as the object pictured in[…..]