Posts Tagged ‘war’

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Pedro Reyes. Doomocracy (Voting Room), 2016.

#privatization #gentrification #immigration #violence #history #freedom At the time of this writing, Pedro Reyes’ Doomocracy installation at the Brooklyn Army Terminal feels like a relic of a bygone era. Just one week after the project’s close, it is difficult for this writer to remember what it felt like to laugh at a funhouse of political horrors, featuring privatized national parks, designer oxygen boutiques, anti-abortion pep rallies, and[…..]

Luis Cruz Azaceta: War and Other Disasters at Abroms-Engel Institute for the Visual Arts

Luis Cruz Azaceta. Hell Act, 2009; acrylic, charcoal, pencil, and shellac on canvas; 72 x 160 in. Courtesy of the artist and the Abroms-Engel Institute for the Visual Arts.

Over the past four decades, Luis Cruz Azaceta has continued to mine the vast possibilities of expressionism—a style that often lends itself to forms of humanism, idealism, originality, and angst that feel more fitting for the 20th century than our current moment. Yet the artist is vigilant in his desire to respond to the world around him, and refuses to retreat into a formal world[…..]

Summer Session: Rug of War

L-R: a 1998 war rug from Baghlan showing a map of Afghanistan (acquired in Peshawar), a 1994 rug from western Afghanistan (also acquired in Peshawar), and a 2004 rug (acquired in Kabul). Image courtesy of REORIENT.

Today from our friends at REORIENT, we bring you an excerpt from Elnaz Bokharachi’s consideration of Afghan War Rugs: The Modern Art of Central Asia at the Scotsdale Museum of Contemporary Art. In keeping with our Summer Session theme of labor, the author discusses weaving, production, and the impact of war on both. This article was originally published on September 21, 2015. Rug weaving amongst the Iranian peoples dates back[…..]

New Objectivity: Modern German Art in the Weimar Republic, 1919–33, at LACMA

August Sander. Painter’s Wife [Helene Abelen], 1926; gelatin silver print; 10 3/16 x 7 3/8 in. Courtesy of LACMA.

Following World War I and the humiliating terms of the Treaty of Versailles, the Weimar Constitution was ratified, establishing Germany’s first democracy. It ushered in a thriving cultural climate: Expressionism came to an end, the Dadaists engaged in anti-art activities, the Bauhaus school was established, and in particular, Neue Sachlichkeit, or “New Objectivity,” emerged. The movement was an alternative realism, endemic to post–WWI Germany, and[…..]

From the Archives – Abolishing War: A Conversation with Krzysztof Wodiczko

Krzysztof Wodiczko, War Veteran Vehicle, Liverpool, 2009. Photography courtesy Robert Ochshorn.

Today is Memorial Day in the United States, a day to remember the men and women who died while serving in our armed forces. In honor of this day, we bring you author Michelle Schultz’s interview with artist Krzysztof Wodiczko, who contends, “There is an extremely thick wall that separates those who know what war is and those who don’t.” This interview was originally published on January 2, 2012. Krzysztof[…..]

Remnants of Revolution: Writing on the Wall in Barcelona

Cities are filled with innumerable details and a foreign land can be barrage of data. In Barcelona, on a walk, I drift from details of leafy building ornamentation to blank walls of flaking stucco, submerged in texture of all kinds. Man’s signs are everywhere, waiting to be decoded. Though I know nothing of graffiti, I am captivated by the drawing, the view of a flat[…..]

Abolishing War: A Conversation with Krzysztof Wodiczko

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Krzysztof Wodiczko’s work is powerful, politically charged and bears great momentum. Best-known for transforming architectural structures and monuments through loaded public projections, Wodiczko’s projects fight for the change he wants seen in the world – a global society free from the destructions of war. When the artist and professor was recently in London for the occasion of his exhibition The Abolition of War at WORK[…..]