(Andrea visits two galleries in New York, sees three excellent shows, and buys something. –the artblog editors) Entering Kent Fine Arts these days is disorienting, because beyond the building entryway, elevator, and usual gallery door is a perfectly-realized, functional, used book store: metal shelves full of books, an occasional easy chair, recommended titles arrayed on a table, and a separate section for children. The only thing missing is the dust that usually characterizes such places. It’s the only store in N.Y.C. devoted to second-hand, Spanish-language books, despite the fact that a quarter of the city speaks Spanish. E-publishing hasn’t fostered ... More » »
I finished reading the collected writings of Suzanne Lacy (see below) on the plane to the 100th Annual Meeting of the College Art Association (CAA) , held from Feb. 22-25 at the Los Angeles Convention Center. I was excited that I would finally see the artist in action. Lacy is a pioneer of what has come to be known as social practice (sometimes termed participatory art, community art, situational art or social sculpture), and founded an MFA program under that name at Otis College of Art and Design in 2007. Since the early 1970s she has produced work consisting of socially ... More » »
It’s the Political Economy, Stupid is an exhibition of work by ten artists or collectives, at the Austrian Cultural Forum through April 22, 2012. Curated by Oliver Ressler and Gregory Sholette, this is a smart exhibition that I suspect will be preaching to the converted, but in style. By means of a slide show, sculptural installation, wall drawing, and numerous, single-channel videos, the international group of artists address the politics of our current economic crisis. This is the gallery version of Occupy Wall Street. Dred Scott literalized the metaphor of money to burn by asking volunteers on Wall Street to ... More » »
For the past couple decades ever more museums have invited artists into their store rooms to curate exhibitions: in an early example, the RISD Museum invited Andy Warhol; MoMA asked Chuck Close and Scott Burden; and Fred Wilson has made a career of the practice. The results have almost always been interesting. Artists, of course, have their own questions of and approaches to objects and collections and it’s always enlightening to see familiar things in unexpected ways.