Posts Tagged ‘Performance’

#Hashtags: Whose Museum Is It Anyway?

Installation view of Mike Kelley at MoMA PS1, 2013. Photo: Matthew Septimus.

#access #institutions #race #class #performance #intersectionality Two major New York exhibitions this winter have raised the question of access to contemporary art and museums in important and divergent ways. Radical Presence: Black Performance in Contemporary Art at the Studio Museum in Harlem continues reframing the historical narrative to include African Americans, as begun in Part 1 at NYU’s Grey Art Gallery. Mike Kelley’s sprawling retrospective[.....]

Coco Fusco: Observations of Predation in Humans at the Studio Museum in Harlem

Coco Fusco.

Critical distance can be an ambitious aspiration for an artist, particularly if her practice strives to directly engage complex economic, environmental, or social-justice issues. How can traditionally partisan discourses be avoided? Can a political viewpoint be communicated without merely contributing to a staunchly divisive cultural dialogue that is easy to tune out? There is no one strategy or formula for this challenge. Coco Fusco’s recent[.....]

Fan Mail: Rachel Debuque

Rachel Debuque. Cacti-Smash (Performance and Installation), 2013; paint, wood moon cacti, gloves, plastic goggles, test tubes, knife, glass bowl, watch glasses plaster cast moon cacti, plaster cast cat sticks, cast plastic cat stick, aluminum, plastic roofing, extension cords, power strip, fake plants; 8’ x 10’ x 8’ feet. Courtesy of the artist.

Rachel Debuque works with myriad subjects and forms. In her work, installation, performance, video, and sculpture collide with themes of domesticity, the still life, and the eccentricities of both individual personalities and physical spaces. Through all of this, her oeuvre coheres around a central concern: the visual re-codification and conveyance of memory through spatial sensitivity. Debuque’s Cacti-Smash (2013) is an installation-based performance that features two[.....]

Kim Anno: Water City Berkeley at Kala Art Institute

Kim Anno. Water City Berkeley, 2013 (still); dual-projected video; 21:00. Courtesy of the artist.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, John Zarobell reviews Water City Berkeley at Kala Art Institute in Berkeley, California. Why celebrate when the world is going to hell? Kim Anno’s ambitious effort to envision the future[.....]

Rituals of Rented Island at the Whitney Museum of American Art

Julia Heyward, God Heads, performance part of “Performances: Four Evenings, Four Days” at the Whitney Museum of American Art, February 28, 1976. Courtesy the artist

Peggy Phelan said it best: “Performance’s only life is in the present.”[1] Slippery in designation and impermanent by nature, a performance is not the same as the video of a performance. The viewer must be present for not only the sights and sounds of the performer, but also the smell, the temperature, the crowd, the fidgeting in a folding chair, or standing on a concrete[.....]

Performance in Context: Interview with Liz Magic Laser

Liz Magic Laser. The Living Newspaper: August 19 Edition, 2013; performance with Audrey Crabtree and Michael Wiener. Courtesy of the Artist.

Though I can’t remember the first time I saw Liz Magic Laser‘s work (and yes, it’s her given name), I was entranced by this video of her commission for the 2013 Armory Show in New York. So much artwork these days looks like it was made by committee, so why not explicitly use the methodology of a focus group to create the work for the commission? It’s[.....]

Richard T. Walker at Kadist San Francisco

Today we bring you a video excerpt of Richard T. Walker‘s recent performance the security of impossibility, part of the Summer Music Series at Kadist San Francisco. Originally performed on July 10, 2013, the security is composed of layered harmonies, live and recorded music, multiple projections, and participant-operated tape players.