Posts Tagged ‘identity’

Wangechi Mutu: A Fantastic Journey at Mary and Leigh Block Museum

Wangechi Mutu. Suspended Playtime, 2008/2013; Packing blankets, twine, garbage bags, and gold string; dimensions variable. Courtesy of the artist and Susanne Vielmetter Los Angeles Projects.

This year has been unusually promising for the visibility of work by black female artists, even while that prominence has further highlighted racially problematic attitudes within the art world. The last ten months have marked the first in which an African American woman—Carrie Mae Weems—was given a retrospective at the Guggenheim, though her triumphant entry into that pantheon led to rebukes that the museum cut the original[.....]

#Hashtags: Black Futurism: The Creative Destruction and Reconstruction of Race in Contemporary Art

nuri Kahiu. Pumzi, film still, 2009. Courtesy Focus Features Africa First Short Film Program.

#blackness #afrofuturism #identity #agency #mobility Today we’re partnering with our friends at ART21 Magazine to bring you Nettrice Gaskins‘ excellent consideration of “Black futurism as a form of creative expression [that] pushes against the conventional limits of black subjectivity.” This article was originally published on June 24, 2014, in the “Future” issue of ART21 Magazine. For the online research project Liquid Blackness, Alessandra Raengo reflects on[.....]

Visual Markers: Interview with Dushko Petrovich

Dushko Petrovich. El Oso Carnal (in progress), 2012-present; acrylic on paper, 108 x 90 in.

I first met Dushko Petrovich in 2013 at the “Painting Expanded” symposium at the California College of the Arts. In his brief presentation and in the panel discussion that followed, it was clear that Petrovich is a thoughtful artist not afraid to question his own and others’ artistic practices. This quality is also evident in the publications he co-produces with Roger White, the art journal Paper[.....]

Locating Technology: Against Recognition

Zach Blas. Facial Weaponization Suite Communiqué: Fag Face, 2012 (video still); HD video; 08:10. Courtesy of the Artist. Photo: Zach Blas.

From our partners at Art Practical, today we bring you an essay by Emily K. Holmes, who analyzes the work of artist Zach Blas: “Blas creates space for facial-recognition technology to be not only strange, but dangerous and deserving of our critical questioning.” This article was originally published on April 16, 2014. Biometric technologies aim to “authenticate” and “verify” individuals by digitally scanning physical traits on[.....]

Cullen Washington Jr.: The Land Before Words at 808 Gallery

Untitled #4
2013
Canvas, paper, tape, found materials
7.5 x 7

From our friends at Big Red & Shiny, today we bring you a review of Cullen Washington Jr.’s paintings at 808 Gallery at Boston University’s College of Fine Arts. Author Shawn Hill points out, “Washington has embraced the American tradition of the readymade (Duchamp) and junk art (Kienholz) in creating these paintings, which draw from the past but refer to the still-charged state of race relations and[.....]

#Hashtags: The Ethnicity Exhibition

Lorraine O’Grady. Untitled (Mlle. Bourgeoise Noire and her Master of Ceremonies enter the New Museum),
1980–83, printed 2009. Gelatin silver print. 7 1/4 x 9 1/4 in. Courtesy the artist and Alexander Gray Associates, New York.

#race #ethnicity #gender #institutions #access #identity Since the Civil Rights Era, it has become commonplace for marginalized ethnic communities to instate their own institutions of sociological and cultural study such as university Ethic Studies departments and museums like Brooklyn’s Museum of Contemporary African Diaspora Arts. In the face of extreme prejudice and exclusion from the discourses of history and art, many have felt the necessity[.....]

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[.....]