Percent for Art is seemingly concerned with “art enrichment” by state or city arts agencies role in it, managing the artist rosters, maintaining public art collections, commissioning artworks, selecting installation sites, among other things for aesthetic and cultural enhancement in both public and private real estate developments. For some, it’s also an opportunity to have desperately needed revenue to counter the displacement of artists and preserve a city or state’s creative spirit. The work, with its serial repetition of percentage signs across six separate bright red panels, appears as splashy retail signage for no apparent sale. Its apparent emptiness reflects the limited documentation that we have of private developments, in which public information is missing and there’s no way to evaluate overall if percent for art programs are achieving its goals. The photographic works of the Berlin-based artist Annette Kelm often feature a single, vaguely familiar object, which she renders using a direct and realistic style that oscillates between genres, such as documentary and advertising. She makes series revolving around these objects, pressing the relationship between photography and sculpture—her work moves between the creation of images and the recording of a staged object or objects—in order to unfold her subject’s social, economic, and cultural context.
Using a conceptually-oriented model of photography, German artist Annette Kelm explores objects and the surrounding nexus of human-driven relations that govern their existence, signification, and function. Her photographs explore systemic structures of capital and history by juxtaposing disparate genres, such as patterned textiles, designed objects, and technology, within a single work. The clashing motifs of these still life compositions sketch out richly contradictory and cross-cultural narratives, while subverting the stylistic conventions of normative photographic advertisements. Kelm often feature a single, vaguely familiar object, which she renders using a direct and realistic style that oscillates between genres, such as documentary and advertising. She makes series revolving around these objects, pressing the relationship between photography and sculpture—her work moves between the creation of images and the recording of a staged object or objects—in order to unfold her subject’s social, economic, and cultural context.
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Video: Catherine Opie on photographing leading British artists | Blog | Royal Academy of Arts Catherine Opie in the RA Collection Gallery Video: Catherine Opie on photographing leading British artists Read more Become a Friend Video: Catherine Opie on photographing leading British artists Published 8 September 2023 Catherine Opie discusses her portraits of David Hockney, Anish Kapoor, Gillian Wearing, Isaac Julien and Lynette Yiadom-Boakye, featured in our free display in the Collection Gallery...
Hand Study (Making in Whiteness) IIII by Carmen Winant is part of a series of five collages...
Typical Weapons is a series of sculptural interventions where Alejandro Marre transforms traditional Guatemalan craft objects usually sold as souvenirs into weapons...
The rise of charity content: where giving gets complicated – Annenberg Media Skip to main content Arts, Culture & Entertainment The rise of charity content: where giving gets complicated As heartwarming videos of people in need getting help from content creators soar in popularity, questions about the phenomenon linger...
The three Maiko s were included in Ron Terada’s 2008 exhibition, Voight–Kampf , at Catriona Jeffries gallery...
Caught: Goodbye Lin Bo, we hardly knew ye | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Singapore Repertory Theatre November 17, 2019 By Nabilah Said and Eugene Tan (2,500 words, 10-minute read) Spoiler Alert: This review contains major spoilers for the show Caught...
Alternate Realities Thinking and Talking about Arts and Culture in Southeast Asia Articles Looi Wan Ping, Tiger Tiger Pictures January 16, 2020 By Poh Yong Han (1,279 words, 7-minute read) I Dream of Singapore follows an injured Bangladeshi migrant worker, Feroz, who is temporarily residing at a Transient Workers Count Too (TWC2) shelter, Dayspace, as he waits for his case to be sorted out so he can make his compensation claims...
Nos visages ( Our Faces ) continues Nidhal Chamekh’s research around visual souvenirs of figures of the past and the light they might shed on our contemporary era...
Sweet Jesus is a sound installation by Lutz Bacher that consists of a found recording of James Earl Jones’ iconic voice reciting biblical genealogy from Matthew, Book 1...