|IndyWatch Arts and Culture Feed Archiver|
IndyWatch Arts and Culture Feed was generated at Community Resources IndyWatch.
Zeinab, playing the clarinet. Bahia Shehab, The Sound of Light and Hope (photo by the artist, and all photos courtesy of Project Light)
LONDON In the late twentieth century, the field of art history expanded into that of visual culture, in order to take account of the social, political and economic conditions in which art objects are created. Though these issues are certainly worthy of attention and study, the term visual culture itself contains a problematic assumption: that art can only be experienced through sight. It is this assumption that a recent ten-day exhibition, Shared Vision, in London, organized by the social enterprise Project Light, attempted to challenge.
The small exhibition brought together newly commissioned works by artists who are sighted, partially sighted, or blind. All of the fourteen artists were asked to respond to the phrase shared vision, the double meaning of which is drawn out in a quote by the famous blind humanitarian, Helen Keller: Worse than being blind is having sight but no vision. The works, which range from a calligraffiti painting by the Tunisian Banksy, eL Seed, to a video about an Egyptian orchestra for blind female musicians by the Islamic art historian, Bahia Shehab, explore experiences of art outside of the purely visual....
Ingrid Schaffner (photo by Bryan Conley, courtesy Carnegie International)
The Carnegie International might be most historically influential art biennial youve never heard of. Founded in 1896, its considered North Americas oldest recurring exhibition of contemporary art. Mary Cassatt, Henri Matisse, Thomas Eakins, Richard Serra, and Cindy Sherman are just a few of the artists featured over the course of the Internationals 122-year history.
This Pittsburgh biennials history documents the gradual reception of modernism by Americas cultural gatekeepers from the 1920s onwards. One needs only to look at Henri Matisses meteoric rise in popularity through the latter half of the decade to understand how the Carnegie International figures into a major chapter of modernist art history. After all, the French artist won first prize at the 1927 International for one of his still-life paintings, and three years later sat on the biennials jury of award. In 1931, Matisse was the subject of major retrospectives around the world, from New York to Berlin. The Museum of Modern Art became a principal champion of the artist in America. (Not coincidentally, its influential director, Alfred H. Barr, had once served on the Internationals jury himself.) The history of the Carnegie International is also the history of the Carnegie Museum of Art, which began its collection by acquiring Winslow Homers The Wreck (1896), the winner of the biennials first run.
Curator Ingrid Schaffner says her vision for the Carnegie Internationals 57th edition is a return to the museum as a site of joy. Whereas many other contemporary art exhibitions (like Clevelands FRONT triennial, for example) spread across their host cities, this years International will consolidate its efforts within the Carnegie Museum of Art. Hyperallergic spoke with Schaffner about her curatorial framework and choices for this years show, and what she hopes visitors will gain from it.
* * *...
During times of social division and misunderstanding, the art and process of craft can unite makers from diverse backgrounds and spark important conversations. Thats the inspiration behind the 2018 CraftNOW theme Making a Difference which will be explored by artists, institutions, and visitors alike during a curated series of events and exhibitions taking place in Philadelphia from November 14 surrounding the Philadelphia Museum of Art Contemporary Craft Show.
The CraftNOW organization celebrates Philadelphia as an epicenter for creative works in wood, clay, fiber, metal, and glass by showcasing the citys community of contemporary artists and world-renowned craft institutions. Get to know and meet many of these innovators at the free Making a Difference Symposium on November 2, featuring ceramicist and activist Roberto Lugo as the keynote speaker. Lugos experiences growing up as a poor kid in Philadelphias Kensington neighborhood inspire his vibrant, politically aware pottery, which will be highlighted in CraftNOW exhibitions at both The Clay Studio and Wexler Gallery in Old City. The Clay Studios Making a Difference: Social and Political Activism in Clay, inspiring CraftNOWs programmatic theme for 2018, includes works by a total of 13 diverse ceramic artists, all using their creative output to respond to current events and issues.
Continue exploring the impact of craft throughout the weekend while getting hands-on at CraftNOW Create, which will include make and take demonstrations presented by Blick Art Supplies, The Center for Art in Wood, Wharton Esherick Museum, and many others. CraftNOWs celebration of contemporary craft extends throughout Philadelphia with more than 20 exhibitions. In Poorly Watched Girls at The Fabric Workshop and Museum, visual master Suzanne Bocanegras large-scale performance art installations consider the ways popular entertainment depicts women in spiritual and emotional trouble. Textile artist Tasha Lewis, featured at Philadelphias Magic Gardens, also examines Americas culture a...
A view of Yoko Onos SKY installation at the 72nd Street B/C subway station (photo by Patrick J. Cashin / Metropolitan Transportation Authority)
After six months of renovations and repairs, the 72nd Street B/C Subway station that sits under the famed Dakota building opened with a new series of murals designed by Yoko Ono.
These six new ceramic mosaics, cumulatively labeled SKY by the artist, comprise 973 square feet altogether with visions of a blue, cloud-filled sky embedded with written messages of hope. For the project, Ono transformed photographs of the sky into these intricate tile works that could display subtle gradations in color and tone.
Additionally, the Fluxus artist designed her murals to subtly shift in perspective; this allows transit users to see the clouds from slightly different angles as they walk through the station. Two mosaics are above the mezzanine stairs leading to the southbound platform where two more pieces are featured. One mosaic is installed on the northbound platform and another in the main turnstile area.Photo: Patrick J. Cashin / Metropolitan Transportation Authority
Im thrilled that my new work, SKY, will be opening at the 72 St subway station just steps from my home and Strawberry Fields, which I created in memory of my late husband, said Yoko Ono in a statement. It will bring the sky underground, so its always with us. I hope this will bring peace and joy to my fellow New Yorkers for many years...
Twenty inflatable tentacles extend from the roof and several windows of a two-story warehouse in Philadelphias Navy Yard, making it appear as if sea monsters have attacked the former naval storehouse in an installation titled Sea Monsters HERE. The massive work is the largest inflatable sculpture ever created by UK-based artists Filthy Luker (previously) and Pedro Estrellas. It was produced in partnership between Group X, an anonymous collective of local artists and curators, and the Navy Yard which extends along the Delaware River.
The purple tentacles range from 32 to 40 feet, and curl upwards to reveal green suction cups lining their inner surface. Luker and Estrellas have been collaborating on inflatable sculptures since 1996, you can see more of their recent works on Instagram and their website, Designs in A...
Youre only as old as you feel, right? The platitude may be true. In a scientifically verifiable sense, feelinga state of mindmay not only determine psychological well-being but physical health as well, including the natural aging processes of the body.
Harvard psychologist Ellen Langer has spent decades testing the hypothesis, and has come to some interesting conclusions about the relationship between mental processes and bodily aging. In order to do the kind of work she has for decades, she has had to put aside the thorny mind-body problema longstanding philosophical and practical impasse in figuring out how the two interact. Lets forget about how you get from one to the other, she tells CBS This Morning in a 2014 interview above, and in fact see those as just words. Wherever youre putting the mind, youre necessarily putting the body.
What happens to the one, she theorized, will necessarily affect the other. In a 1981 experiment, which she called the counterclockwise study, she and her research team placed eight men in their late 70s in a monastery in New Hampshire, converted to transport them all to 1959 when they were in their prime. Furniture, dcor, news, sports, music, TV, movies: every cultural reference dated from the period. There were no mirrors, only photos of the men in their 20s. They spoke and acted as though they had traveled back in time and gotten younger.
The results were extraordinary, almost too good to be true, she felt. On several measures, The New York Times reported in 2014, they outperformed a control group that came earlier to the monastery but didnt imagine themselves back into the skin of their younger selves, though they were encouraged to reminisce." The "counterclockwise" participants "were suppler, showed greater manual dexterity and sat taller. Perhaps most improbably, their sight improved as well as their hearing. Given the seemingly miraculous outcomes, tiny sample size, and the unorthodoxy of the experiment, Langer decided not to publish at the time but continued to work on similar studies looking at how the mind affe...
Mona/Marcel/Marge (2014), lenticular photograph (all images, unless otherwise indicated, are Martha Wilson, courtesy of Michle Didier, Paris)
PARIS What does it mean to turn ones life into a work of art? While there is ample discourse on the subject in philosophical circles, those of us in the arts tend to focus on the objects created by artists, often finding ourselves excusing or reveling in the egregious behavior of the artists themselves male artists, generally speaking. I am not talking about virtue as the antidote to bad boy behavior, but rather what it means to make an overall commitment to an artistic community, care about and conserve what other artists do, even when it is ephemeral and not easily marketed or archived, and all the while work on your own art. This generosity of spirit is not typical and it characterizes everything that Martha Wilson does.
Wilson has been active as a producer, exhibitor, and archivist since the mid-1970s. The exhibition Martha Wilson: Staging the Journals at Michle Didier in Paris looks at several early bodies of work alongside a few more recent works, all of which explore identity, specifically that of women in patriarchal society.
Wilsons earliest black-and-white video works, Complete Halifax Collection (1972-1974) or Premiere, Routine Performance, Art Sucks, Appearance as Value (1972) set the stage, figuratively and literally, for the work to come. These are performances crafted specifically for the camera. As an early proponent of feminism, the artist takes a close look at prescribed roles for women and ultimately finds herself adrift and without a place. I rejected them all, she stated at the talk not only because she was young and trying to understand her own role as an adult in society, but because she was trying to understand the roles that were on offer. The roles Wilson saw afforded some variety but ultimately led a young, intelligent, and intellectually curious woman coming of age in the early 1970s to either decoration over substance or some form of outsider status....
View this post on Instagram...
Well played Mr. Street Art Banksy hat mal wieder einen Clou gelandet und mit einer Aktion fr ziemlich viel Aufsehen in der Presse und in den Kreisen des internationalen Kunstmarkes gesorgt. Nachdem ein Banksy Werk (Balloon Girl, 2002) bei einer Kunstauktion des bekannten Auktionshauses Sothebys an einen anonymen Bieter fr rund 1 Millionen Pfund verkauft wurde, zerschredderte sich das Bild in Teilen selbst durch einen in den Bilderahmen eingebauten Reiwolf. Die Aktion ist eine ziemlich klare Botschaft an den Kunstmarkt. Kurz danach hat sich Banksy mit einem Post bei Instagram zu der Aktion geuert und ein Foto zusammen mit den Worten Going, going, gone gepostet. Sieh dir diesen Beitrag auf Instagram an Going, going, gone Ein Beitrag geteilt von Banksy (@banksy) am Okt 5, 2018 um 6:45 PDT Kurze Zeit spter folgte ein Video, in dem man sieht, wie der Reiwolf in den Bilderrahmen eingebaut wird. Dazu ist ein Zitat von Picasso zu lesen The urge to destroy is also a creative urge. Alle Bilder und Videos: Banksy Die Aktion ist meiner Meinung nach eine der interessantesten Arbeiten von Banksy der berhaupt. Dabei ist es wichtig zu wissen, dass die meisten von Banksys Arbeiten, die fr absurd hohe ...
Der Beitrag Banksy Kunstwerk schreddert sich selbst nach erfolgreicher Millionen-Versteigerung erschien zuerst auf URBANSHIT.
Installation view of Sunwoo Kim, Flat is the New Deep (2018) at the 12th Gwangju Biennale, Imagined Borders (image by the author for Hyperallergic)
GWANGJU, Republic of Korea I am looking at a screen. With each scroll it grows bigger, bigger, and bigger, morphing into an array of RBG pixels. And these pixels they too grow, becoming grandiose, revealing more pixels within. This ineluctable progression stops only when they suddenly transform into an isometrically-rendered building.
This is just the beginning of Sunwoo Hoons web cartoon Flat is the New Deep (2018), presented for the first time at this years Gwangju Biennale, Imagined Borders. As it is often the case with new media works, it is tempting to consider the pixel as a mere self-referential motif to the medium of his work. But in fact, it operates as a powerful metaphor for the South Korean artist, who first encountered it as he doodled with Microsoft Paint during compulsory military service. For the pixel, as a unitary notation of any digital image, symbolizes not only the utopian representation of individuals in a democratic society, but also an ever-increasing flattening relationship between technological devices and politics.Sunwoo Kim, Flat is the New Deep (2018), detail (image courtesy of the Gwangju Biennale)
The latter issue is explicitly at stake in this works narration of the history of protests...
The Louvin Brothers are everyones favorite...
Rick Springfields Jessies Girl is one of the most iconic songs of the 1980s. It was a huge song in 1981, and went to #1 on the Billboard charts on August 1st of that year (incidentally, the same...
Alles wird irgendwie, irgendwann, von irgendwem aufgepimpt Autos, Fahrrder, Mopeds, warum also nicht auch Einkaufswagen. Genau das hat der italienische Street Artist Vlady gemacht. Dafr hat er einen Einkaufswagen in Stockholm mit Pappe ordentlich aufgemotzt. Aus der Intervention Pimp my ride (to the supermarket) knnte sich gut eine Reihe entwickeln. Warten wir mal ab. All pictures by courtesy of the artist Vlady Um auf dem Laufenden ber die Arbeit von Vlady zu bleiben, folgt ihm auf Facebook oder besucht die Website des Knstlers.
Der Beitrag Pimp my shopping cart Vlady Art motzt Einkaufswagen auf erschien zuerst auf URBANSHIT.
|IndyWatch Arts and Culture Feed Archiver|
IndyWatch Arts and Culture Feed was generated at Community Resources IndyWatch.
Resource generated at IndyWatch using aliasfeed and rawdog