Posts Tagged ‘From the Archives’

From the Archives – Taravat Talepasand: Not an Arab Spring at Beta Pictoris Gallery

. Taravat Talepasand. Khomeini, 2015; egg tempura on linen; 48 x 36 in.

Spurred by recent elections in the US and abroad, there’s been a resurgence of interest by artists and critics alike in so-called “political art.” Today from our archives we bring you a review of Taravat Talepasand’s work at Beta Pictoris; author Jordan Amirkhani argues that Telepasand’s work operates much in the same way as Andy Warhol’s, wherein a cultural actor becomes a symbolic fetish to[…..]

From the Archives – La Polis Imagi-nada at El Quinto Piso

Liz Misterio. El regreso de Ana Suromal, 2015 (action-art still); action-art and video projection. Courtesy of the artist and El Quinto Piso, Mexico D.F. Photo: Liz Misterio.

While nation-states elect or appoint internationally recognized power brokers, real politics emerge on the ground in the lived experiences of our communities, in the polis. In the face of shifting national and international politics, local communities must commit to uphold human rights. In that spirit, San Francisco’s Board of Supervisors recently dismissed threats of funding cuts by the President-elect and affirmed the city’s commitment to[…..]

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.

From the Archives — Memoria (Memory): Bibiana Suárez at Hyde Park Art Center

(L t R): Bibiana Suárez. Aves raras (mexicanos) no. 1 / Strange Birds (Mexicans) no. 1, 2005-2011; archival inkjet print on aluminum panel (map courtesy of the University of Chicago’s Special Collections); 24 x 24 in.  Bibiana Suárez. Aves raras (mexicanos) no. 2 / Strange Birds (Mexicans) no. 2, 2005-2011; archival inkjet print (map courtesy of the University of Chicago’s Special Collections); 24 x 24 in.

Looking back to another election year, in 2012 author Randall Miller noted, “The language surrounding immigration, espoused by the [GOP] candidates as well as other jingoist hardliners, has become so vitriolic and so reduced that hyperbole strategically crowds out any sober dialogue that addresses the complexity of the issue.” In the face of those who advocate overtly prejudiced perspectives, today from our archives we bring you[…..]

From the Archives – Black Chronicles II at Spelman College Museum of Fine Art

Peter Jackson aka ‘The Black Prince’. London Stereoscopic Company, 2 December 1889. 42.5 x 31.5”. Framed & Unglazed. Courtesy of © Hulton Archive/Getty Images.

“New struggles for civil and race rights continue to challenge and mine the unequal fields of representation within American political life.” So writes author Jordan Amirkhani, who explored this exhibition earlier in 2016, and connected these studio portraits from the late 1800s to current images from the Black Lives Matter movement. Today from our archives we consider Black visibility in culture and history. This article was originally published on May[…..]

From the Archives – Help Desk: Insults & Insecurities

Dimitri Kozyrev, Last one 16, 2012. Acrylic on canvas, 84 x 72 inches

Today from our archives we bring you a Help Desk column about jealousy and competition—and some good ways of dealing with friends who become frenemies. Got an arts-related issue? Submit your question anonymously here. This article was originally published on November 12, 2012. I am having a rather embarrassing problem with some of my local colleagues in the visual arts. That problem is a general enmity[…..]

From the Archives — Pipilotti Rist: Worry Will Vanish and Stay Stamina Stay at Hauser & Wirth

This week, the New Museum opened a major exhibition of works by path-breaking multimedia and video artist Pipilotti Rist. As author Elspeth Walker observed in her 2015 review, Rist’s work confounds the divide between the human body, the natural world, and video technologies. Fielding otherworldly experiences made from footage of this world, Rist’s installation likely felt hypnotic to many viewers for a reason—she drew inspiration from[…..]