Whether it’s to text a friend or binge watch a series, sitting in front of a screen has become a comfortable familiarity, one that is an integral part of our daily lives. Through technological advances, video is now accessed and used in endless capacities. As a medium, it has become as complex as its most… Read more »
Anna Kunz’s recent exhibition, Color Cast, at the Hyde Park Art Center surrounded visitors in a field of color that made one feel as if they were walking between the painted gestures of a large-scale painting. Draped across the space were large swaths of material painted in yellows, pinks, and reds that swayed with the… Read more »
Three distinct exhibitions, Past in Reverse: Contemporary Art of East Asia, Reality Bites: Making Avant-garde Art in Post-Wall Germany, and Black Is, Black Ain’t, took place in three different locations in the US, respectively in 2004, 2007 and 2008. While at first glance, all three exhibitions seem to contend with issues of what might be… Read more »
Editor’s note: This essay originally appeared on Hyperallergic. Since Natufian people first put down roots in the city of Jericho 11,000 years ago, capitalism has been the prevailing economic regime for humans for less than three percent of the time. Yet, afflicted with chronocentrism, many contemporary cultures treat capitalism as the natural ordering of the… Read more »
In the age of social media it has become easier to disseminate artworks to wide channels, providing a multitude of entry points to pieces that might lay inside institutional walls. Despite the increased accessibility, contemporary artworks can still become buried in social media algorithms, and often do not have the same impact when viewed outside… Read more »
“[T]here are known knowns; there are things we know we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns—the ones we don’t know we don’t know.” — U.S. Secretary of Defense Donald Rumsfeld, 2002 Thirteen bold,… Read more »
From inside a pitch-black, 6 ft. by 6 ft. by 8 ft. chamber within a gallery, a train screeches, machines hum, a cane taps on linoleum floor. The sounds co-mingle as they make their way across the six speakers mounted in the small room. A powerful transducer speaker causes the lowest frequencies to rattle the… Read more »
In the 18th century Swedish botanist Carolus Linnaeus (1707-1778) created a system of classification for indexing the natural world, which he presented in his work titled Systema Naturæ in 1735. Linnaean taxonomy presented three kingdoms—animal, plant, and mineral—which were then divided into classes, orders, genera, and species. This system of classification, now known as binomial… Read more »
On October 17, 1979, six years after a US-backed military coup in Chile toppled the democratically elected government and established Augusto Pinochet’s dictatorship, residents of Santiago witnessed another kind of insurrection. A procession of ten milk trucks drove through the capital city and parked in front of the Museo Nacional de Bellas Artes. The drivers… Read more »
Editor’s note: This article was originally published in NEW INC‘s blog, Stream. See the original version here. In the year 2017, the cultural sector en masse has staged some of the more remarkable experiences (and spectacles) in industry memory thanks to the unprecedented power of digital technology. But where the twenty-first century art museum is concerned, the… Read more »
As with any form of social media, our private lives have traversed a line which now exhibits our daily routines, tasks, advances, and even downfalls. For artists, and not only those in the visual realm, social media is the new white box gallery. Museums like the Art Institute of Chicago host Instagram takeovers and smaller… Read more »
For several weeks last June a houseboat sat nestled between multi-million dollar yachts and sailboats at Long Wharf in New York’s Sag Harbor. The 45-foot vessel strongly contrasted the look of its sleek counterparts, a haphazardly built boat with uneven wooden slats and plants growing wildly around its exterior. The ship was a project titled… Read more »
The entrance to the Scottsdale Museum of Contemporary Art (SMOCA) was bathed in an eerie purple light for their 2014 exhibition “Covert Operations: Investigating the Known Unknowns,” curated by Claire C. Carter. Against the wall glowed Jenny Holzer’s 2010 work, “Holzer’s Ribs”, eleven curved LED signs in a bright, visual chorus, which scrolled through lines… Read more »