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#Hashtags: On Disgust

Rina Banerjee. She was now in western style dress covered in part of Empires' ruffle and red dress, had a foreign and peculiar race, a Ganesha who had lost her head, was thrown across sea until herself shipwrecked. A native of Bangladesh lost foot to root in Videsh, followed her mother full stop on forehead, trapped tongue of horn and grew ram-like under stress, 2011. Cowrie shells, rooster feather, gourds, acrylic horns, ceramic balls, plastic netting, amber glass vials, violet glass bulbs, false glass doe eyeballs, silk and synthetic Lanvin ruffled red dress. 73 x 65 in. dia. (185.4 x 165.1 cm).
Copyright Rina Banerjee. Courtesy L.A. Louver, Venice, CA.

#other #violence #misogyny #racism #Orientalism #hybridity An act of senseless violence at UC Santa Barbara this past week has reignited an online conversation about the interrelationship between race, gender, discrimination, and violence. While the tweets and subsequent articles around #yesallwomen have drawn public attention to the gendered assumptions that underpin violent behavior, less visibility has accrued to the role that Orientalism played in dehumanizing and[.....]

Value/Labor/Arts: The Manifestos

W.A.G.E., Artist Payment Graphic, excerpt from W.A.G.E. graphic poster of artist survey results, 2011.

From our friends at Art Practical, today we bring you a publication that is more archive than article: Value/Labor/Arts: The Manifestos was one part of the spectacular issue “Valuing Labor in the Arts” that was guest-edited by Shannon Jackson, Director of the Arts Research Center at UC Berkeley. Compiled by Jackson and artist Helena Keeffe, Value/Labor/Arts: The Manifestos presents seven “recent and… not-so-very-old manifestos of artists who found[.....]

#Hashtags: Mimics and Minstrels

#access #discrimination #appropriation #institutions #representation #re-performance Two important events transpired in the art world last week that have brought the complications of diversity and hierarchy into sharp focus. The first is the passing of artist Elaine Sturtevant, an artist who sublimated a critique of gendered inequity among artist peers into works that appropriated and re-created works deemed significant to the canon of contemporary art. The other[.....]

From the Archives – Rogue Wave at L.A. Louver

Matthew Brandt. Rainbow Lake WY 1, 2013, C-print soaked in Rainbow Lake water, 72 x 105 in. Courtesy of L.A. Louver

From San Francisco to Los Angeles, California suffered an unseasonably early heat wave this week. With temperatures in Los Angeles breaking 100 degrees, everyone is dreaming of a day at the beach. Today we bring you Catlin Moore‘s review of L.A. Louver‘s annual summer show; though it was originally published on August 15, 2013, the feeling of the show seems apropos for right now. It’s July[.....]

#Hashtags: Education on Contingency

Christian Nagler. Yoga for Adjuncts, 2014. Workshop at  Valuing Labor in the Arts: A Practicum. Photo by Michelle Ott. Courtesy of Arts Research Center, UC Berkeley.

#adjuncts  #unions #MFA #precarity #affective #labor This past May Day week, there has been much chatter about the decision by adjunct faculty at the San Francisco Art Institute to file for a union election. This comes on the heels of a similar decision to file for union election by Mills College adjuncts and the formation of a union to represent adjuncts at the Maryland Institute[.....]

Public Intimacy: Art and Other Ordinary Acts in South Africa at Yerba Buena Center for the Arts

Mikhael Subotzky and Patrick Waterhouse, Ponte City, 2008-ongoing; installation view, Yerba Buena Center for the Arts, San Francisco. Courtesy of Yerba Buena Center for the Arts and San Francisco Museum of Modern Art. Photo: Ian Reeves.

From our partners at Art Practical, today we bring you Larissa Archer‘s review of Public Intimacy: Art and Other Ordinary Acts in South Africa, currently on view at the Yerba Buena Center for the Arts in San Francisco. The review highlights the work of photographers Mikhael Subotzky and Patrick Waterhouse, whose portraits, video projects, and zines reveal the lives of the residents living in a famous Brutalist building in Johannesburg. This article[.....]

Take Ecstasy With Me at The Whitney Biennial

Jacolby Satterwhite, Reifying Desire 5, 2014 (performance still); duration varied. Courtesy of the artist and The Whitney Museum, New York. Photo: Filip Wolak.

“It would deeply heal me,” artist Jorge Cortiñas urged, “if we all sang this song together.” The ensuing karaoke-like moment was the climax of Cortiñas’ performance, Back Room, which re-told the contentious story of meeting a future lover during an orgy in the dark rear of a now-extinct East Village bar—a story that none of Cortiñas’ straight friends ever wanted to hear. Such tongue-in-cheek emotional self-indulgence invigorated[.....]