The gigantic first floor space at Locks Gallery is occupied this month by the massive, multi-channel video installation 1967 by Nadia Hironaka and Matthew Suib. The collaborative project by the husband and wife team uses appropriated footage from cinema and protest videos to raise questions about political dissent, utopian movements and the role of mass media in driving protest movements in general.
A Jayson Musson exhibit is a shock to the system for the sensitive art enthusiast who expects only well-behaved and friendly art in a gallery. Musson’s word art, on posters and, for his new show at Marginal Utility, some newly-printed vacation-style t-shirts, is like a smack upside the head, delivering rants about the art world, politics and unrequited love.
This week’s Weekly has my review of the Peter Saul retrospective at PAFA. Below is the copy with some words added back in. And here’s Libby’s and my chat with Saul at the show’s preview party. Peter Saul. Icebox Number 7, 1963; Oil on canvas, 74 1/2 x 63 inches (188 x 160 cm); Collection of Mr. and Mrs. Bill Lenox, Dallas Peter Saul is not a pacifist or a left wing radical. And he’s not a communist, because, he says, he never did find where the party hung out. But the wry contrarian—now having a major museum retrospective at ... More » »
While all that political brouhaha emerged from the art world in time for the Republican Convention (see Roberta’s Saturday post), political art of a more enduring sort emerged uptown–at the Studio Museum in Harlem. I was in New York as a stop on the way to my college roommate’s 40th wedding anniversary–she was practically a child bride, and believe it or not she met her husband when she was 14! What I was looking for to keep both me and Murray amused, was a group show with a lot of social content. And since I was staying on 125th Street, ... More » »