Artblog’s new contributor, Mandy Palasik, writes a delightful essay about walking through the late architect Anne Tyng’s house and imagining how the architect lived in the space and how others would live there after her. It’s a very nice essay by Palasik, who is herself an architect. This article was submitted to the Artblog New Art Writing Challenge contest and we are publishing it here with special mention.
Read MoreWhat is an appropriate monument for the current city of Philadelphia? This is the timely and ambitious question that the folks at Mural Arts posed to their 20 selected Monument Lab artists. Imani Roach interviews one of the artists, Sharon Hayes, and reports on her project, installed in Rittenhouse Square until Nov. 19.
Read MoreMatt tries an alternative method of constructing an essay, a playful and visual approach that encourages us to just keep swimming.
Read MoreIn advance of the Philadelphia Art Book Fair coming up on May 5 and 6, we present a think-piece by Vox Populi member Matt Kalasky, who asks, is arts advocacy the same thing as artist advocacy? He argues that the creation of empathy is one of the artist’s most important productions, and that artists’ labor should be oriented more towards people than products.
Read MoreMichael Lieberman and Roberta talk with members of the arts community and report on what arts leaders are doing (or not doing) to respond to the Trump administration’s threats to the arts and to our citizens in general. In their conclusion they ask for the leaders to stand up and do more.
Read MoreWith this constant flux of activity, the capacity to view, look, and reflect about art is rendered significantly more difficult. The upshot to the universalization of endless artistic productivity is a certain prohibition against thinking about the art made and displayed. What matters is not what the art means or does—a judgement that often takes time to work out—but participation as a free-falling spectator in the mad flux of artistic creation.
Read MoreThe art produced in Philadelphia is not, for some miraculous reason, outside of the problem of the unresolved status of contemporary art. It is, rather, like art produced in so many other places, subject to the larger social-historical problem of art’s function. To begin to reimagine platforms of reception, I believe that constant reflection of the unresolved problem of the social function of contemporary art needs to be made.
Read MoreThe question in response to this is clear—to what extent is Trump’s presidency unprecedented? Does it articulate a historical break in the fabric of American politics, one that requires thousands of artists to rise up? I do not think so. Trump’s victory is a result of a process that has been forming since the end of the Cold War. It is, in a way, the inverted consequence of the conjunction of globalized financial capital with Western democracy.
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