A modestly sized but nonetheless ambitious blend of catalog, monograph, and artist’s project, the book accompanies a touring exhibition of the same name which opened at the Contemporary Arts Center, New Orleans, in March 2016.
On the day of POTUS 45’s inauguration, alt-right front man Richard Spencer was punched in the face during an interview for Australian television.
“The records I don’t listen to are as important as the ones I do.”
“People discouraged me when I sang as a child, said, ‘You can’t carry a tune in a bucket.’ People still say that. Well, fuck it. I haven’t been trying to carry a tune. I’ve been essaying, expressing my interests in abstract terms, devil take the hindmost.”
The title Surround Audience evokes the ceaseless ambient noise of the digital age: not only social media but the Internet at large as the general virtualization and modification of human experience, physical bodies, and social interactions.
Seth Price’s Folklore U.S. documents a series of installations and exhibitions stemming from his dOCUMENTA (13) contribution, which included the Folklore U.S. SS12 fashion show (with collaborator Tim Hamilton), an exhibition at Hauptbahnhof, and a series of shop windows and garments for sale at SinnLeffers.
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 like flirting with disaster. I like terms that are open and provocative and unusual and evocative and we don’t know where things will be going next.”
Lee Ann Norman speaks with jazz musician Jason Moran about his multidisciplinary approach to music and what inspires him.
Art history is an uneven and gendered discipline, especially in the southern tip of the West.
“The reason I am writing fiction is so that I can tell the truth from a vantage point that allows me some space.”
Biggers has three shows this fall: an “introspective” at the Brooklyn Museum, a solo show at SculptureCenter, and an exploration of African diaspora imagery at MASS MoCA. He discusses lineage and American history with fellow artist Terry Adkins.
Samuel Jablon engages artist Aaron Sheppard in a discussion about his new work the cake in the room, Alice in Wonderland, Jesus, and Miss Havisham.
After a lunch consisting of meatballs, rice, and lemonade, Francis Alÿs coordinates the afternoon plans for his son Elliot. The main activity is soccer practice, but Alÿs determines it’d be best to get to homework right away.
JJ Peet might surreptitiously reach into a drawer of kernels, grab an equalizer in the form of a wire or a pin and apply it to one of the dueling opponents—a sock-covered brick (the Resistant) and a home-made miniature cannon (the Luxury Leader).
“Meow!” might serve as the inscrutable sound bite of this traveling exhibition curated by Anthony Huberman which started at the Contemporary Art Museum in St. Louis last fall and ends at the Culturgest—Fundação Caixa Geral de Depósitos in Lisbon this summer.
Dan Wolgers is in his third decade of delivering snapshots of the improbable, a kind of shock therapy, to his native Sweden.
Regency Arts Press, Ltd., 2008
Andrew Moszynski on why optimism is at the heart of the socioeconomic statements Fernanda Laguna makes with her paintings, drawings, poems and plays.
Everywhere you look in Michael Smith’s first midcareer survey—a cacophonous carnival of videos, skits, installations, publications, and drawings—there’s “Mike:” a pasty, caterpillar-browed, small-time entrepreneur with American values and a fondness for JFK.