[Dear Readers, in our tenth anniversary year we will be re-visiting some of our early posts, bringing you interesting information from artblog’s vast archive of published reviews, news and features. Below are two posts from May, 2003.] Africa-China-Jamaica-America links at the African American Museum Published May 18, 2003 by Libby Many of Albert Chong’s emotionally rich photographs are conversations with his ancestors, some literal, some not. But his personal history is an archetypical story of migration and immigration, intermarriage and cultural roots. A native of Jamaica, his photos of old black-and-white or sepia-toned portraits arranged with hot-colored flowers plus assorted ... More » »
Shared memories of Star Wars and Buster Keaton serve as a lingua franca that crosses international and personal borders. Unlike art, which in so many ways aims at an elite audience and serves to differentiate the into-art group from other people, the love of movies unites us all. When Christian Marclay created The Clock, his 24-hour video cycle that mashes up movies by the minute, who did he have in mind as his audience? Only visual art lovers? Or everyone? Was he hoping his bouquet to the movies and to time would earn him a new audience, a crowd of ... More » »
Last Friday night Steve, Cate and I ran in to the Whitney Museum to see the Christian Marclay Festival — part exhibition, part performance space and part graffitti-friendly hangout (well, chalk-on-blackboard grafitti anyway). We missed the 7 pm performance but the place was still pretty packed till closing at 9 pm. The museum’s pay what you wish policy on Friday nights is obviously a draw.
I think it was the 13th of August, 1992, that artist and neighbor Ray Johnson called me with the news that John Cage was dead. I know it was early in the morning, and not the day he died, the 12th, because when I went outside to get a coffee and a New York Times, Cage’s obit was fully formed, a solid page, a gray tombstone reserved only for those who have come to New York to change the world. Ray hung up and I assume spent the day dialing all sorts of people to tell them that John Cage ... More » »
This week’s Weekly has my review of the ICA shows Ensemble and Between Us. Below is the copy with some pictures. More photos at flickr. Bring the Noise“Ensemble” rattles and hums while Eileen Neff’s photos are still as death. Enter Ensemble at ICA through Mineko Grimmer’s Bamboo Forest 1995/2007, a sonic curtain. “Ensemble” at the Institute of Contemporary Art is louder than a roomful of noisy 2-year-olds unwrapping drums and rattles at Christmas. The group show of 32 clacking, clicking and thumping audio art pieces was organized by guest curator Christian Marclay, an artist whose own work involves complex sonic ... More » »
John Armleder (left) and Christian Marclay (right) perform About Nothing: As Usual, a medley of Fluxus and Fluxus-inspired performance art pieces at the Institute of Contemporary Art in Philadelphia The airplane hangar-sized space at the Institute of Contemporary Art was the perfect setting for About Nothing: As Usual, a wonderfully silly performance by John Armleder and Christian Marclay Friday night. The result brought to mind Charlie Chaplin, Harold Lloyd and Marcel Marceau–hapless anti-heroes working their way through a lifetime of ridiculous tasks. Armleder commits bubble gun suicide, and gets soap bubbles in his eye Performance artist Armleder, whose little drawings ... More » »
On my way to see Bruce Nauman’s video “Bouncing in the Corner I” in the PMA Video Gallery (definitely worth seeing, check sketches this week), I was ambushed by the new Christian Marclay video installation — “The Bell and the Glass,” part of the Museum Studies series that asks artists to create new work based on holdings of the Museum. I almost didn’t make it to the Nauman. Marclay, a New York video artist and composer, worked with Relache Ensemble to make an homage to two favorite Philadelphia love objects, Marcel Duchamp’s “Large Glass” (at the PMA) and the Liberty ... More » »