Social Practice

Red in View at the Whitney Museum of American Art

MPA , Entrance, 2014–2016; Pigmented inkjet print mounted on mat board and painted wood; 7 × 7 in. Courtesy of MPA and the Whitney Museum

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Jasa McKenzie assesses Red in View at the Whitney Museum of American Art. Red in View by MPA aims to explore the potential[…..]

An Atlas of Mirrors: Singapore Biennale 2016

Titarubi. History Repeats Itself, 2016; Gold-plated nutmeg, copper-plated wood, nickel-plated wood, burnt wood, sampan, wood, aluminium, copper, soil, light and nutmeg perfume; Dimensions variable. Image courtesy of Singapore Art Museum.

There is no shortage of mirrors and maps in the fifth iteration of the Singapore Biennale. Glass mirrors in Harumi Yukutake’s Paracosmos (2016) curve around the main circular stairwell of the Singapore Art Museum, dazzling the eye as light hits their multiple reflective surfaces. Dozens of mirrors appear in their reflections; dozens more yet, to the power of infinity, show up in the reflections of their reflections. In[…..]

Activestills: Photography as Protest in Palestine/Israel

In a new book, the esteemed photojournalist Miki Kratsman describes the uneasy recognition by some former students at Tel Aviv’s Geographic Photography College in 2005: The relationship between photojournalists and media outlets was rapidly shifting in a direction that did not favor visual storytellers, as online platforms achieved supremacy and content demands increased exponentially. From their insecurity sprang Activestills, a collective of dedicated photographers whose[…..]

Soulèvements (Uprisings) at the Jeu de Paume

Dennis Adams. Patriot, 2002; C-print mounted on aluminum; 40.5 x 54 in. Courtesy of Centre National des Arts Plastiques, Paris. Photo: Galerie Gabrielle Maubrie.

What if the imagination made mountains rise up? Georges Didi-Huberman poses this question in Soulèvements (Uprisings), a new exhibition at the Jeu de Paume National Gallery in Paris. Throughout the museum’s galleries, contemporary artworks, books, historical documents, and photographs present a potent survey on the theme of social rebellions in the West, ranging from Victor Hugo’s call for the abolition of the death penalty (in[…..]

Between Citizenry and Privilege: Ai Weiwei and Bouchra Khalili

Ai Weiwei and Rowlit Chawla. Weiwei on Lesvos Beach, 2016. Photo: Rowlit Chawla for India Today.

Today from our sister publication Art Practical we bring you Jordan Amirkhani’s article from 8.1: Art + Citizenship. Amirkhani discusses the recent work of artists Ai Weiwei and Bouchra Khalili as they respond to global crises. Amirkhani quotes Hannah Arendt, who speaks to citizenship and  those who lack the “rights to rights,” saying, “If a human being loses his political status, he should, according to the implications of the inborn[…..]

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 – Alien She at Yerba Buena Center for the Arts

L.J. Roberts. We Couldn’t Get In. We Couldn’t Get Out., 2006–07; installation view, Alien She, 2014. Courtesy of Phocasso and Yerba Buena Center for the Arts, San Francisco.

Alien She’s assemblage of Riot Grrrl output continues to inspire collective feminist organizing.