Gerardo Tan: Hablon Redux and Other Transcriptions at Random Parts

Gerardo Tan. Turntable Paintings, 2016; vinyl, acrylic; dimensions variable. Courtesy of the Artist and Random Parts. Photo: Maria Porges.

What does it mean to transcribe a work from one medium to another? Is the result a kind of translation, a form of documentation, a new piece of art, or all three? In a fascinating range of media—painting, video, found objects, weaving, and sound—Manila-based artist Gerardo Tan investigates these questions through three different projects presented in his solo exhibition Hablon Redux and Other Transcriptions at[…..]

Fan Mail: Sarah Beth Woods

Sarah Beth Woods. A Big Diamond, 2016; hair weave, foam, door-knocker earrings; 67 x 7 x 30 in. Courtesy of the Artist.

True to its name, the BRAID/WORK series by Sarah Beth Woods operates within layers of social and material meaning, revealing a deconstructionist character even as it replicates the physical act of weaving. In the creation of these pieces, Woods pulls apart the concepts that make them legible. BRAID/WORK includes a 2016 performance and collaboration between Woods and the Malian-American professional hair braider, teacher, and entrepreneur[…..]

In Conversation with Artist Tiff Massey

Tiff Massey. Facet, 2013. Courtesy of the Library Street Collective.

Today, from our new friends at Arts.Black, we bring you an interview with Detroit-based metalsmith artist Tiff Massey by Taylor Renee Aldridge. They discussed “socio-politics in Detroit, ’80s bling, and Massey’s rigorous art practice.”  Massey speaks of symbolism and color in her work, explaining “I keep going back and forth to the use of the mirror, the cameo, this oval shape [points to massive rings[…..]

Hammer Projects: Simone Leigh

Simone Leigh. "Althea", 2016; Terra-cotta, India ink, porcelain, cobalt and epoxy. Courtesy of the Artist and the Hammer Museum. Photo: Brian Forrest.

Colony Little explores Simone Leigh’s first West Coast solo exhibition at the Hammer in Los Angeles.

A Perfect Storm

Rokni Haerizadeh. But a Storm is Blowing from Paradise. Photo: Ramin Haerizadeh. (© the artist; courtesy the Solomon R. Guggenheim Museum)

From our friends at REORIENT, today we bring you author Nur Shkembi’s thoughts on subversive practices in the Guggenheim’s exhibition of Contemporary Middle Eastern and North African Art, But a Storm Is Blowing from Paradise. Shkembi states, “This notion of art as a subversive practice is not new; however, redefining the material itself as the place from which ideas are ‘smuggled in’ is certainly compelling.” But a Storm Is Blowing[…..]

Boom: The Art of Resistance at Random Parts

Amara T. Smith, Ellen Sebastian Chang & collaborators. House/Full of Black Women
Multiple sites, Oakland, CA
“Now You See Me” video documentation by Ginika Oruche
Original lantern used in performance with replica veil material

Impeccably curated by artist–organizer Leslie Dreyer at Random Parts gallery, Boom: The Art of Resistance is an exhibition that does not advertise its impact, and it could be mistaken for “scrappy” if one ignored the precision of the show and the assumptions jammed into that word. Installed in the small storefront/apartment space in Oakland, a few of the show’s works are in the well-used kitchen,[…..]

Joan Jonas: From Away at DHC ART

Installation view, Joan Jonas: From Away, 2016, DHC/ART. Joan Jonas, They Come to us Without a Word (Wind), 2015. Multimedia Installation (site-specific adaptation). Originally commissioned for the U.S. Pavilion of the 56th Venice Biennale by the MIT List Visual Arts Center, Cambridge, Massachusetts. Courtesy of The Kramlich Collection, San Francisco. © DHC/ART Foundation for Contemporary Art. Photo: Richard-Max Tremblay.

As psycho-historian, I try to diagnose the schizophrenia of Western civilization from its images, in an autobiographical reflex. (Joan Jonas, The Shape, the Scent, the Feel of Things) Joan Jonas’ retrospective exhibition From Away occupies two buildings at DHC/ART in Montreal. Arriving at the basement’s miniature cinema felt like entering a cauldron of the Jonasian universe, and moving up and down in the tightly vertical first building[…..]