Video / Film

If the World Changed: Singapore Biennale 2013

Teamlab. Peace Can Be Realized Even Without Order, 2012; interactive digital installation; dimensions variable. Courtesy of the Artist and Singapore Art Museum.

Premised on the obliquely hypothetical question “What if the world changed?”, the Singapore Biennale 2013 (SB2013) is presented as a deconstructed entity centered on allusive keywords—or “tags” in internetspeak—such as “histories,” “intervention,” and “materiality” in order to highlight the transmutative and the transformative qualities of the art produced in the region. With a collaborative team of 27 curators instead of an artistic director helming the show,[.....]

From the Archives: You Killed Me First: The Cinema of Transgression at Kunst-Werke

After the Smithsonian’s G. Wayne Clough decided to remove David Wojnarowicz’s film A Fire in My Belly from the exhibition Hide/Seek: Difference and Desire in American Portraiture, Wojnarowicz became a household name and a cultural touchstone, to the point where Vanity Fair can now glibly claim, “Right-wing America will be begging for David Wojnarowicz…” and expect its readers to get the joke. In September, Clough[.....]

Wynne Greenwood: More Heads at Soloway

Wynne Greenwood. Pink Head, 2013; ceramic and acrylic paint; dimensions variable. Courtesy of the artist and Soloway.

In the mid-2000s, Wynne Greenwood‘s video persona sparked an adolescent idolatry in me that really started everything. In Tracey + The Plastics, Greenwood’s three-person electro-pop band, she played all the characters, performing live shows in conversation with pre-recorded projections of herself. Watching Greenwood essentially talk to herself through Tracy, Nikki, and Cola, I was delivered a vision of the millennial queer future in which we[.....]

GLYPHS: Acts of Inscription at Pitzer College Galleries

Mickalene Thomas. Le dejeuner sur l’herbe: trois femmes noires, 2010; C-print; artist proof 2/2; 48 x 60 inches. Courtesy of the Artist, Susanne Vielmetter Los Angeles Projects, Lehmann Maupin, NY and Artists Rights Society (ARS), NY.

Three powerful women dressed in patterned sundresses, jewelry, and club-ready makeup are seated on a jumble of printed fabrics, fake flowers, and gold spray-painted fruit. Their pose is a familiar one, mimicking Edouard Manet’s scandalous—at the time—Le Dejeuner sur l’Herbe (1862-3), except in this one all posers are clothed, female, black, and staring at me as though they were sussing me up—trying to discern my[.....]

Camille Henrot: Cities of Ys at the New Orleans Museum of Art

Camille Henrot. Cities of Ys, 2013 installation view. Courtesy of the Artist and Gallery Kamel Mennour

French video artist Camille Henrot creates parallels between the mythical and the contemporary. In her first solo exhibition in the United States at the New Orleans Museum of Art, she investigates the legendary city of Ys in France and the vanishing coastal area of southern Louisiana that is occupied by the ancestral Houma Indians. Coastal erosion, in real and mythical tales, is at the heart[.....]

Fan Mail: Sarah O’Donnell

Sarah O’Donnell. A Visible Night, 2013; Interior image of site specific installation at abandoned Moran energy plant, Burlington, VT, colored silks, rotating LED light, light board; dimensions variable. Courtesy of the artist.

In Sarah O’Donnell’s work, cinema, the diorama, and immersive installation come together to give shape to her fascination with and investigation of human memory. O’Donnell is specifically interested in the places and characters through which memories are made. She often re-creates memories through her own ever-evolving methods of mise-en-scène and editing. In this way, her works all seem to reside somewhere between explaining and further[.....]

Grid’s World at Locust Projects

In any survey of post-war abstract painting, an inescapable topic of discussion is the grid. Usual examples cite artists such as Agnes Martin and Ad Reinhardt, and the grid as aesthetic style typically bears descriptive qualities like “clinical,” “sterile,” and “objective”—words that have minimalistic sensibilities. However, as Zachary Cahill points out in an introductory text for Grid’s World at Locust Projects in Miami, grids are[.....]