Posts Tagged ‘Institutional Critique’

Summer Session – Jobs Suck and Art Rules: Today I Made Nothing at Elizabeth Dee

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Continuing our labor-themed Summer Session, today we bring you Michael Tomeo’s review of Today I Made Nothing at Elizabeth Dee Gallery in New York City. This article was originally published on August 23, 2010.  I’m so over jobs right now. Sure, we need them, we’re thankful for the paycheck and it’s fun to hang out with coworkers (sometimes), but let’s face it, jobs blow.  While the total[…..]

G.T. Pellizzi: Yo Transporto at Sala de Arte Público Siqueiros

G.T. Pellizzi. Yo Transporto, 2016; wood, plywood, Ethafoam. Courtesy of Sala de Arte Público Siqueiros.

Art travels. Within the globalized art scene, its journey takes the many forms of traveling exhibitions, international art fairs, biennials, public contests, and loans from personal or institutional collections. Although this wandering condition may enrich the experience of different public spheres by bringing them closer to popular works and major exhibitions, the accelerated speed at which these movements and spectacles take place commands a huge[…..]

Noah Davis: Imitation of Wealth at MOCA Storefront

Noah Davis. Imitation of Wealth, 2015; installation view, MOCA: storefront. Courtesy of the Artist and the Museum of Contemporary Art, Los Angeles. Photo: Cameron Crone and Carter Seddon.

For the next three years, the estimable Underground Museum, co-founded by husband and wife Noah and Karon Davis, will bring artworks from Museum of Contemporary Art’s (MOCA) permanent collection to its unassuming storefront in the largely black and Latino working-class neighborhoods of West Adams and Crenshaw. Reciprocally, MOCA presents Noah Davis’ Imitation of Wealth, which was first exhibited at the Underground Museum, in its new[…..]

Conclusion to the Big Ideas: An Interview with Alon Levin

Modernity—in all its West-centric incarnations—has been debated, deliberated and disputed since the last feudal lord packed it in.  Baudelaire lambasted the arbitrary parameters that dictate “advanced” civilization; Machiavelli’s antecedents celebrated them. The very notion of a “modern” world results in a perpetual discourse on the factors that prescribe it. Within the walls of Ambach & Rice‘s new Los Angeles gallery, the dialogue persists with Alon[…..]