Installations (Visual Works)
In Killer of Sheep, Charles Burnett’s 1977 film set in LA after the Watts riots, there is a scene you may recall: a group of friends sit in a car outside a liquor store; on the hood rests a can of beer, and the man in the passenger seat reaches through the empty windshield to sip from it.
Mold-making and photography have an ambiguous relationship to whatever they reproduce. They can deliver the most faithful rendition of a given model, but it is precisely this similarity that makes them extraordinary, unreal.
Venezuelan-born artist Javier Téllez’s first exhibition at Koenig & Clinton took its title from his recent film To Have Done with the Judgment of God (2016) and concerns an experience that marked Antonin Artaud’s life in 1936: the author’s encounter with the Rarámuri community living in the Sierra Tarahumara in northwest Mexico.
As Anna K.E. explains it, first a picture comes to her, then she completes the action.
An equation for Fia Backström. In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser…
Ward’s Jamaican roots and home in Harlem have been recurring themes in his numerous installations. He speaks with Jaffe about three key works.
Huyghe is forever fond of systems that try to take care of themselves—regardless of whether they self-generate, naturally decay, or both.
“No, it’s not graffiti art. It’s not street art. I’m a bushman cave painter.”
A conditional archive or A score
for the past and future of
LIVING ROOM INDEX AND POOL
“I obtusely landed in the best place possible.”
Tom McCarthy could be considered a conceptual artist whose medium is fiction. His Satin Island is just out. Frederic Tuten, the British novelist’s counterpart on this side of the Atlantic, investigates the novel’s dizzyingly diverse sources.
Agnieszka Kurant’s interests include various forms of surplus, invisible entities, and the phantoms haunting capitalist production. Some of her projects involve crowdsourcing, others outsourcing to nonhuman species: think colonies of termites.
I went on a few adventures as a prompt for writing this response to Samara Golden’s The Flat Side of the Knife.
A live conversation about performance, adventure, and objects.
For the past decade my sense of Bethany Ides’s work was based on hearsay, bits and scraps, or long distance perception.