Posts Tagged ‘#hashtags’

#Hashtags: Learn Where the Meat Comes From

Karen Kilimnik. The Hellfire Club episode of the Avengers, 1989. Fabric, photocopies, candelabra, toy swords, mirror, gilded frames, costume jewelry, boot,
fake cobwebs, silver tankard, audio media player, and dried pea. Dimensions variable. Whitney Museum of American Art, New York; Gift of Peter M. Brant, courtesy The Brant Foundation, 2014.106. Photo by the author.

#museums #access #collections #markets #historicity #gentrification With the arrival of the new Whitney Museum on Gansevoort Street, New York’s once notorious Meatpacking District completes lower Manhattan’s transition from a no-man’s-land populated by artists and outcasts to a stomping ground for fashionable elites. Befitting of an institution that represents the American art world—which has long positioned itself within both these groups, often simultaneously—the Whitney would seem[…..]

#Hashtags: Heart of Darkness

Sammy Baloji. Essay on Urban Planning, 2013 (installation view). Twelve colour photographs, each 80 x 120 cm 320 x 360 cm Courtesy the artist and Galerie Imane Farès, Paris © Sammy Baloji © Photo: Alessandra Bello. Belgian Pavilion, 56th Venice Biennale.

#imperialism #appropriation #representation #environment #postcolonialism #revolution Throughout the 56th Venice Biennale, one finds national pavilions that have taken up the postcolonial mantle of Okwui Enwezor’s central exhibition within the contours of their own relationships to imperialist histories. Among the most successful of these are Vincent Meessen’s Belgian pavilion, Personne et les Autres, and Fiona Hall’s Australian pavilion, Wrong Way Time. Both pavilions consider how the[…..]

#Hashtags: Liveness

Jason Moran and Alicia Hall Moran, Work  songs, ARENA, Padiglione Centrale, Giardini. 56th International Art Exhibition - la Biennale di Venezia, All the World’s Futures. Photo by Isabella Balena. Courtesy: la Biennale di Venezia.

#participation #politics #capital #religion #access #inclusion At the center of All the World’s Futures—The 56th Venice Biennale is the ARENA. Designed by architect David Adjaye, it is meant to serve as a platform for “live art” throughout the exhibition’s run. The space is defined by a large, low platform, flanked by risers and backed with a projection screen. Above the stage, a mezzanine provides another vantage point. The[…..]

#Hashtags: The Political Biennale

Padiglione Centrale 
Giardini, Venezia 
2015. 56th International Art Exhibition - la Biennale di Venezia, All the World’s Futures. Photo: Alessandra Chemollo. Courtesy: la Biennale di Venezia.

#nationalism #institutions #power #access #globalization #protest #labor #capital The 56th Venice Biennale, “All the World’s Futures,” has been hailed as the “political” Biennale both by its curator Okwui Enwezor and by the international art press. That designation has come in for significant criticism from some who feel that contemporary art either can not or should not address political concerns, given the commodity status of art objects[…..]

#Hashtags: Conceptualizing Difference

Charles Gaines: Gridwork 1974-1989. 
Installation view at the Hammer Museum, Los Angeles. February 8-May 24, 2015. Photography by Brian Forrest.

#institutions #race #conceptualism #access #appropriation A recent performance at Brown University by conceptual poet Kenneth Goldsmith has resurrected what had seemed to be a long-ago-settled debate. Goldsmith, whose poetic practice is based on appropriation, presented an adaptation of the autopsy report of Ferguson, Missouri, police shooting victim Michael Brown as a poetic reading during the Interrupt 3 arts festival in mid-March. The subsequent commentary has largely taken Goldsmith to task for what many perceive to have[…..]

#Hashtags: The Business End of Art

Steve Lambert. Capitalism Works For Me! True/False, 2011.
9 ft x 20 ft x 7 ft.
Aluminum and electrical.

#artmarket #creativeeconomy #collectors #entrepreneur #philanthropy #support As in nearly every field of commerce, it seems that the tension between old and new models of the business of art is coming to a head. Traditional galleries see that their established methods of selling selectively and covertly to buyers of high social standing are under threat. Museums, which once were beneficiaries of philanthropic largesse from those same[…..]

#Hashtags: Political Abstraction – The Revolution is Us

sturtevant_study_for_muybridge_plate_97_woman_walking_196641

In a 2012 essay for e-flux, After OWS: Social Practice Art, Abstraction, and the Limits of the Social, Gregory Sholette asks whether there can be a role for abstraction within the flourishing new discipline of socially engaged post-conceptual art practice. This remains a valid question given that most activist art is still understood to be representational, based on precedents from the Civil Rights era such as[…..]