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...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
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...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
The West Hollywood Artist Who Immortalised LA’s Golden Boys | AnOther A new exhibition in New York showcases the work of Kenneth Kendall, an artist who sculpted James Dean, Marlon Brando and more in the bohemian atmosphere of late 20th-century Los Angeles February 06, 2024 Text Miss Rosen Back in the 1950s, Hollywood’s fabled Melrose Avenue was still a sleepy street home to cabinetmakers and print shops catering to the local community...
90022 (Leonard Ave) by Guadalupe Rosales engages with memory, loss, grief, and nostalgia; themes that run throughout the artist’s practice...
Birender Kumar Yadav comes from Dhanbad, India, a city built on its proximity of iron ore and coal and once forested and inhabited by Indigenous people who compose the Gondwana...
Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold...
Mullican’s Stick Figure Drawings depict characters reduced to their most basic graphic representation...
The work La Loge Harlem focuses on the history of Harlem and its development over the last 200 years...
dbqp is a photographic series in which the artist handles an enlargement of the plate with three cutout windows which was used for L’Archipel (The Archipelago) in collaboration with Pierre Leguillon...
The Théâtre de poche video is inspired by Arthur Lloyd / “Human Card Index”, a magician who was famous for being able to take out of his pockets any image requested by his spectators...
The artist writes about her work: “There is an endless desire to know what we look like from outer space and many of us have evolved into a species that exists across the disorienting spaces and timeframes of virtuality...