Memorial for intersections #2 (2013) is a minimalist, black metallic structure that contains the brightly colored translucent circles, triangles, rectangles, and squares that originally were presented in Pica’s performance work A ? B ? C (2013). When read as A intersection B intersection C, this piece references the fact that, during the last dictatorship in Argentina (1976–83), the military junta forbade Venn diagrams, and the related concept of intersection, from being taught in elementary schools, because they were viewed as potentially subversive. In A ? B ? C , Pica invited performers to manipulate translucent, colored Perspex shapes, producing new configurations that used the idea of intersection to reimagine collaboration and community. This work enacts the very role that its title suggests, asking how a performance can become a sculpture. The structure transforms the original human performative gestures into cold, stylized frames that indeed memorialize something that was once living. If most memorials are monuments—that is, embedded in rich substrata of symbolic references—then Memorials for intersections are delicate and literal tributes to the truisms of math. Borrowing from minimalist and constructivist traditions, the memorials are simple, almost sophomoric, in the directness of their shapes and colors. While fixed in place, the transparent geometric panels hanging on the frame shift in tone throughout the day, responding to changes in light and reverberating with the live actions that led to their conception.
Amalia Pica describes herself as an outsider, in the sense that she is an Argentine artist living and working in an art world that is still largely dominated by the same nations that colonized the globe centuries ago. But Pica is not the kind of outsider who stands by sullenly and criticizes; she’s more like the quirky character spouting wit and wisdom from the peripheries of the stage. Her works often engage with the idea of being out of place and out of time—staging the aftermath of a celebration rather than the party itself, for example—all the while maintaining an attitude of bemused observation.
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...