A number of books and catalogs have come out which concern art with a social and/or political focus. This post looks at two which were recently published in Berlin: Art and Agenda; Political Art and Activism, Robert Klanten et al, eds. ( Berlin: Gestalten, 2011) ISBN 978-3-89955-342-0 visible; where art leaves its own field and becomes visible as part of something else, a project by Cittadellarte-Fondazione Pistoletto and Fondazione Zegna (Berlin: Sternberg Press, 2010) ISBN 978–1-934105-0
News Fleisher Art Memorial @ the White House Student Zulmarie Nazario, 16, attended a ceremony on November 2 at the White House where she received the National Arts and Humanities Youth Program Award from First Lady Michelle Obama on behalf of the Fleisher Art Memorial. The prestigious award is for Fleisher’s work to develop learning and life skills in young people through the arts and creative experience. Nazario is one of many students who participate in Fleisher’s after school program in which a number of activities help young people explore their artistic and creative abilities.
There’s a great immersive piece at the Guardian by James Westcott on Marina Abramovic’s The Artist is Present, her new endurance performance in the atrium of MoMA. Westcott, whose new biography of her was just published, formerly was Abramovic’s assistant, which gives the article (and presumably the biography) some crunch, since he knows her and her works well. The best line in the piece is his summing up about the exhibitionist/mystic/masochistic artist: “It’s impossible to disentangle the narcissism from the public service in her work; the diva from the high priestess.” Check the video on the jump page to get ... More » »
Jenny Jasky is Philadelphia’s loss and New York’s gain; she recently moved and already found an outlet, curating an exhibition at NYCAMS (New York Center for Art and Media Studies) with Stamatina Gregory. Incarnational Aesthetics (Oct. 24-November 25, 2009) is one of those idea-driven exhibitions where I found the work provocative but couldn’t entirely reconcile it with the curators’ statement: to showcase artists who use embodiment or ‘role play’ in their work as a means of interrogating and deconstructing the public and private boundaries between self and other.