Reformation: Public Art and the Philadelphia School Closures

Pepón Osorio. reForm, 2015; installation view, Temple University's Tyler School of Art. Photo: Constance Mensh.

Today from our friends at Pelican Bomb, we bring you Meredith Sellers’ article examining reForm, Pepón Osorio’s installation project at Temple University’s Tyler School of Art. Sellers discusses reForm critically in the larger political context of Philadelphia school closures. She states, “The reForm project […] aims to create much-needed public discussion around the fate of the Philadelphia school system and to be a potential catalyst for change. But a classroom,[…..]

Black Box: Sergio Caballero at the Hirshhorn Museum

Sergio Caballero. Ancha La Castilla or N’importe quoi, 2014 (video still); digital video, 24:00. Courtesy of the artist and Smithsonian's Hirshhorn Museum and Sculpture Garden.

Sergio Caballero combines grotesque materials, low-budget techniques, and a healthy dose of dark humor in his film Ancha La Castilla or N’importe Quoi (2014). Ancha La Castilla is the latest iteration of Black Box, a series dedicated to moving-image works at the Hirshhorn Museum in Washington, D.C. The twenty-five-minute film tells the tale of a young girl named Alegría as she becomes possessed and thus[…..]

Ken Price: Death Shrine I at the Harwood Museum of Art

Ken Price. Death Shrine I, 1972-76; dimensions variable. Courtesy of Ken Price Studio.

Ken Price is best known for his psychedelic ceramic sculptures: abstractions layered in paint and sanded to pristine finishes. His piece Death Shrine I (1972–1976), permanently installed at the Harwood Museum of Art in Taos, New Mexico, is an unexpected departure from this canon. The shrine is a facet of Price’s Happy’s Curios project, and is one of three such installations inspired by the iconography[…..]

Impossible Objects at the Museum of Contemporary Art in Krakow

Impossible Objects, 2014; installation view, Impossible Objects, 2015. Courtesy of Instytut Architektury, Krakow. Photo: Jakub Woynarowski

Cultural reproduction is at the center of Impossible Objects, an exhibition that returns to Poland after much lauded recognition at the Venice Biennale. On central display is a 1:1 replica of the baldachin designed by Adolf Szyszko-Bohusz at the beginning of the 20th century to honor the revolutionary Polish leader Marshal Józef Piłsudski. The reproduction is accompanied by artist and artistic director Jakub Woynarowski’s large-scale[…..]

From the Archives– Evan Gruzis: Shell Game at The Suburban

Evan Gruzis. Free Box, 2014; Textile dye and acrylic on canvas; 48 x 32 in. Courtesy of the artist.

Today from the archives we bring you Steve Ruiz’s review of Evan Gruzis’s Shell Game at the Suburban, Michelle Grabner and husband Brad Killam’s backyard gallery in Oak Park that pioneered the suburb’s role as a hub of Chicago alternative art spaces. Grabner’s gingham soccer ball, currently Issue 27 of THE THING Quarterly, offers up a playful rejoinder to Ken Johnson’s famous criticism of Grabner’s work as “soccer mom” art. The second[…..]

Interview with Robin Rhode

Robin Rhode. Chalk Bicycle (detail), 2011-2015; chalk and steel bicycle. Courtesy of the Artist and Lehmann Maupin, New York. Photo: Max Yawney.

Today from our friends at BOMB, we bring you an interview with artist Robin Rhode. Author Lee Ann Norman talks with Rhode about his upcoming performance Erwartung: A Street Opera for Performa 15, growing up in South Africa, and “what it means to make art in an increasingly globalized world.” This article was originally published on August 13, 2015. Cape Town-born and Berlin-based multidisciplinary artist[…..]

Enrique Martínez Celaya – Empires: Land and Sea at Jack Shainman Gallery

1.	Enrique Martinez Celaya. The Bloom, for the Wilderness, 2015; oil and wax on canvas; 74-3/4 x 101-3/4 x 2-1/2 in (framed). Courtesy of the Artist and Jack Shainman Gallery.

“It’s not a key,” Enrique Martínez Celaya warns of the text Empires: The Writing, which accompanies his first solo exhibition at Jack Shainman, now on view at the gallery’s two venues in Chelsea under the titles Empires: Land and Empires: Sea.[1] I meet Celaya in early September, when we walk through the shows on the eve of the artist’s departure for his home in Los Angeles. Empires[…..]