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Jeffrey Augustine Songco. Blissed Out, 2013. HD looping video. © Jeffrey Augustine Songco. Courtesy of the artist and Steven Wolf Fine Arts, San Francisco.

#commerce #spirituality #appropriation #commodification #orientalism The third and final installment of the Asian Art Museum’s Proximities series of contemporary art exhibitions addresses Asia’s central role in networks of trade, manufacturing, and information. On the whole, this series’ focus on looking at Asia through an American lens has revealed significantly more about America and the Bay Area than about Asia. As with the first and second[.....]

Cai Guo-Qiang: Falling Back to Earth at the Queensland Gallery of Modern Art

Cai Guo-Qiang, Heritage, 2013. 99 life-sized replicas of animals, water, sand, drip mechanism; installed dimensions variable
 commissioned for the exhibition ‘Falling Back to Earth’, 2013; proposed for the Queensland Art Gallery collection with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation.

Ninety-nine animals stand in a circle, heads bent, drinking from a clear pool of impossibly blue water. Predators and prey are lined up in peaceful harmony: lions and tigers together with giraffes, zebras, and antelope; a big black bear with small furry creatures. What utopian vision is this? In Cai Guo-Qiang′s allegorical installation for the Queensland Gallery of Modern Art, he has abandoned his usual[.....]

Alex Prager: A Face in the Crowd at Lehmann Maupin

Alex Prager. Face in the Crowd, 2013; installation view, Lehmann Maupin, New York City. Courtesy of the artist and Lehmann Maupin.

Alex Prager’s first exhibition at Lehmann Maupin makes a blood pact with the myth of cinema. The gallery’s downtown location hosts large-format stills from Prager’s newest film, A Face in the Crowd, alongside highly staged photographs taken from slightly different angles than those represented in the film. Lehmann Maupin’s Chelsea gallery features more of these beautifully rendered, high-quality stills, as well as a viewing room[.....]

From the Archives – Postscript: Writing After Conceptual Art

Today we bring you an article from our archives, a review of Postscript: Writing After Conceptual Art. Author Caitlin Sutherland notes that the show “addresses the intersection of conceptual art and writing from a unique perspective. The use of the term after in the title does not necessarily reference a chronological narrative in which conceptual writing emerged from post-conceptual art. Instead, it may signify the relationship between the two[.....]

Work in Progress: Considering Utopia at Contemporary Jewish Museum

Oded Hirsch. 50 Blue, 2009; single channel video w/sound, 12:30. Courtesy of Contemporary Jewish Museum

Today from our partners at Art Practical we bring you a review of Work in Progress: Considering Utopia at the Contemporary Jewish Museum in San Francisco. Author Mary Anne Kluth notes, “The exhibition as a whole positions art as a space to think through, test, and potentially develop goal-oriented models of human interaction.” This article was originally published on January 7, 2014. The three artists in Work in Progress:[.....]

Material Practices: Stitching, Fabric, and Textiles in the work of Contemporary Chinese Artists

Yin Xiuzhen, Portable City, Sydney, 2003       photo: Yin Xiuzhen         collection by Sherman Contemporary Art Foundation, image courtesy the artist

Mao Zedong once said that revolution is not a dinner party. Less famously, he said it is not embroidery, either. Interestingly, however, some female contemporary Chinese artists have chosen to work with thread and textiles—and embroidery—in experimental, maybe even revolutionary ways. From Lin Tianmiao’s overt exploration of sexuality, fecundity, and the aging and decay of the body, to Yin Xiuzhen’s use of the embodied memories[.....]

Geoffrey Farmer: A Light in the Moon at Mercer Union

One imagines that Geoffrey Farmer must go through millions of X-Acto knives a year. The Vancouver-based artist is known for his cutouts of images culled from books, magazines, and other printed material, which have been exhibited at Documenta(13) and at the Tate. In his new work Boneyard (2013), currently on view at Mercer Union, Farmer adapts his signature technique—excising  any traces of context through the[.....]