Roberta sees some art in the suburbs and reports that activist, political, eco-themed work is alive and well there.
Read MoreWhat is the role of an artist when their old neighborhood is gentrified by art galleries and the neighborhood doesn’t want them there? This highly topical question, and others, are examined by Guadalupe Rosales in her splendid “Legends Never Die: A Collective Memory,” at Cantor Fitzgerald Gallery, Haverford College. Deborah Krieger writes a great personal take on the show.
Read MoreAndrea reviews an exhibit by Jacqueline Hoang Nguyen that critiques the Stockholm Ethnography Museum and its “collecting” of non-Western, cultural artifacts and stories. Many museum goers are already aware of moral and ethical problems underlying ethnographic collections. For those not aware, this exhibit will be valuable, Andrea says.
Read MoreThe current show at Haverford’s Cantor Fitzgerald Gallery brings together a diverse group of activist artists who critique consumer culture, colonialism, and the exploitation of the planet. Their goal, Evan says, is to get us out of the gallery and into the world to make meaningful change.
Read MoreBy controlling the atomizer, the thing that makes paint into microscopic droplets, the street artists were fighting the atomization of modern man. It was a rebellion against the psychic colony—f–k your copy! It’s what EKG touches on his “Technologies of Human Nature,”a wall-sized hierarchical chart created on black paper with orange oil sticks. He attempts to summarize street art’s ideological foundation, when he writes “bomb the semiotosphere!”
Read MoreIn The Past is a Foreign Country, Francois-Xavier Gbré uses architectural photographs of West Africa and elsewhere to bring us face-to-face with failed construction projects that came from the mouths of politicians and CEOs who promised prosperity but failed to deliver.
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