Sculpture

Crafting a Continuum: Rethinking Contemporary Craft at the Houston Center for Contemporary Craft

Sonya Clark. Thread Wrapped in Blue and Brown. 2008. Combs and thread. 45 x 1 x 60 inches. Image courtesy of the Houston Center for Contemporary Craft.

Since the rise of conceptual art practices within the ever-changing terrain of contemporary art, one often encounters the silly assertion that art making has become a market of ideas as opposed to objects. This is, of course, ridiculous: A walk through any art fair or biennial reveals that there are more objects in circulation than ever before, some more thoughtful than others. While dematerialization continues,[…..]

Marte Eknæs and Sean Raspet: Calculus of Negligence at Room East

Sean Raspet. Layer Adjustment (Accident Probability Adjustment), 2015; alterations made to the physical location to increase the probability of an accident while remaining within the scope of existing insurance coverage (May 5–June 21, 2105). Image courtesy of Room East.

True catastrophes cannot be foreseen… True catastrophes are new information. They are, by definition, surprising adventures.—Vilém Flusser, Into the Universe of Technical Images, 1985 With the exception of a small community of daredevils, most people try to avoid disasters. There are, of course, various degrees of risk associated with everything we do that drive our precautions as well as the insurance industry. In general, the[…..]

Beverly Buchanan: And You May Find Yourself… at Andrew Edlin Gallery

Beverly Buchanan. Old Colored School, 2010; wood and paint; 20.25 x 14.75 x 18.5 in (51.4 x 37.5 x 47 cm). Courtesy Andrew Edlin Gallery.

Though certainly no stranger to the art world, Beverly Buchanan has followed an unusual trajectory in her career and public profile as an artist. Born in 1940 in North Carolina, and raised in South Carolina, she spent much of her childhood accompanying her father, an agricultural scientist, while he visited sharecroppers in far-flung locations throughout the rural South, observing the lives and structures they made[…..]

Theaster Gates: Freedom of Assembly at White Cube Gallery

Ground Rules (Scrimmage), 2015; wood flooring; 100 3/16 x 147 2/16 in. Courtesy of White Cube. Photo: Ben Westoby.

Freedom of Assembly is Theaster Gates’ second solo exhibition with London’s White Cube Gallery. Having won the Artes Mundi prize in January, Gates is currently receiving praise for his installation at this year’s Venice Biennale. Freedom of Assembly comes at a high point in the artist’s career, showing a new tendency to reflect and reconfigure, though by way of a comparatively conventional sculpture and painting show[…..]

Entang Wiharso: Never Say No at Singapore Tyler Print Institute

Entang Wiharso. Shelter: Forest of Eyes, 2015; Aluminium sheet, laser cut, C-type print; 127 × 184 × 3 cm. Courtesy of STPI.

Set in profile, a man casts a doleful eye on a smaller figure that perches on his forehead and pulls insistently at his tongue, while a miniature chainsaw balances threateningly on his head. The palm of his hand is pierced with a plant-like dagger, and little bodies tumble out feet-first from the bottom of his torso, already bearing knives and swords in preparation for a skirmish.[…..]

Wael Shawky: Cabaret Crusades at MoMA PS1

Wael Shawky. Wael Shawky: Cabaret Crusades, 2015; installation view, MoMA PS1, New York, featuring marionettes from Cabaret Crusades: The Secrets of Karbala, 2015. Courtesy of MoMA PS1, New York, and Sfeir Semler Gallery, Beirut and Hamburg.

Wael Shawky’s gorgeous cinematography, sets, and marionettes fuse a child-like play with the horrors and complications of war and history.

100° City at City Limits

Joel Dean. Untitled, 2015; Solarbotics Photopopper Photovore V5.0, glass jar; 11" x 7" x 7". Courtesy of the Artist and City Limits, Oakland.

Today from our partners at Art Practical, we bring you Jackie Im‘s review of 100° City, a three-person show at City Limits Gallery in Oakland that “…seeks to challenge, to draw people into these messy conversations about anxiety, about the effects we have on the Earth.” Today is your last chance to see the exhibition, which features works by Jason Benson, Joel Dean, and Erin Jane[…..]