For hundreds of refugees, seeking escape from war-torn Syria and access to a better life in Europe, witnessing the destruction of their homeland and suffering through dangerous travel over land and sea is apparently not enough—not if they land in the Czech Republic. One human rights official recently found deplorable conditions at one of the four Czech refugee camps, which are housed in former prisons and military facilities “that in many respects offers worse conditions than Czech prisons.” The migrants are brought to the facilities in handcu... [more]
It has been 11 years since the National Museum of Contemporary Art in Athens has been planning to open, but its doors remain shut. The museum’s director, Katerina Koskina—a former art critic—is the only one who really knows why. So we asked her: What’s going on?
The National Museum's new building—a 12 acre site which looks like a wafer bar—was finished in 2013 with a budget of 33.7 million euro, co-financed by Greece and the European Union’s European Regi... [more]
Art or Not? As we mentioned last week, there's often a fine line between art and garbage. Art can play with us and our fear of missing out ("FOMO" as IIana Glazer of Broad City refers to it. It's a terrible thing.)
What does elevate a simple scene to the status of a masterful creation? With most things being flattened to a single dimension nowadays, can we create an idea out of rubbish? Do we even need more ideas? Perhaps we just have too much time.
One of the pictures described below documents an installation... [more]
Embody, disembody, co-embody, somebody, nobody: today, we are continually confronted with the complexities that result from attempts to prescribe and describe "the body." Race, age, politics, economy, sexuality, and gender all affect our physical form so individually that “there is no generic body, no such thing as 'the body'; bodies are raced, gendered, and assisted differently in the world”—as artist and writer Hannah Black says.
How do we find a balance between expressing differen... [more]
What goes on behind the closed doors of the artists' studio has always fascinated the layperson. What do they do in there? Creative spaces appeal to our aesthetic imagination—they're often laden with eclectic objects, designed to benefit the artist's productivity. Psychologically, the interior architecture of the studio is perhaps assumed to be a reflection of the artist's thinking.
But in the post-industrial economy, the spaces artists work in have had to change and adapt to a more migrat... [more]
Iraqi-Finnish artist Adel Abidin returns to his painterly roots for the first time in six years with Immortals, a solo exhibition running at Lawrie Shabibi in Dubai. The show, which challenges society’s perceptions of Arabic-speaking media, gives visitors the feeling of watching live news on television, with some irony added in.
The outstretched hand of a cleric appears from behind a microphone-strewn podium, while his body is obscured in black. The artist seems to suggest that figures o... [more]
On Being Black: Portraits, Identity, Surface by Meredith Kooi Jim Alexander, Sheila Pree Bright, Nicole Buchanan, Albert Chong, Terrell Clark, Allen Cooley, Renee Cox, Omar Victor Diop, Barbara Dumetz, Delphine Fawundu, Gerard Gaskin, Janna Ireland, Ayanna V. Jackson, Ervin A. Johnson, Ross Oscar Knight, Le'Andra Leseur, Joshua McFadden, Qiana Mestrich, John Pinderhughes, Jared Soares, Deborah Willis, Hank Willis Thomas at Arnika Dawkins Gallery
October 16th, 2015 - January 22nd
The group photography exhibition On Being Black, on view at Arnika Dawkins Gallery in Atlanta, explores blackness and how black identity is constituted in and through photography. The show presents work by 24 artists working in the medium, most of which were made within the past six years, but the presentation also includes a couple of earlier works produced in the 1970s, and a scattering from the late 90s and early 2000s. A few major tendencies and themes also arise in the show: beauty, portraiture,... [more]
Art or Not? Art nowadays has many different forms: it can smell, move, be big, small, or even invisible. Sometimes it can be mistaken for garbage. Sometimes it is garbage, and it becomes an artwork.
But often the art we see everyday has a singlular, flat form—it has to battle with the challenges of the screen. What we refer to as "Art" is more desultory now than ever before. Can we really tell the difference? Do words change everything? Every week, we ask you to be the judge.
This week, can you discern which m... [more]
As the White House diversified in occupancy, so did the objects on its walls. Under President Barack Obama’s tenure in the White House the distinct image of realistic portraiture and ethereal landscapes of Midwestern plains that have long hung on its walls have been replaced by more contemporary artists like Glenn Ligon, Robert Rauschenberg, and Jasper Johns.
The Ligon contribution, a piece entitled Black Like Me, No. 2 (1992) (top), is composed of black words fit ever more snugly as they desc... [more]
Feminism is "trending": but, as we've written before, that's not necessarily a bad thing.
There's no doubt that we're experiencing a fervent new wave of visual feminism that has seen wider exposure than ever before thanks to online platforms. The “4th wavers,” a new generation of feminist practioners who are choosing to use visual activity as a core means for resolving their thinking, have forged an unprecedented symbiosis between experimental and formerly marginal forms of culture... [more]
Welcome to season 2, episode 1, of the Artslant podcast series, Working (it) Out.
My name is Gillian Dykeman, and I'm a visual artist living in Toronto, Ontario. Working (it) Out began as a nine-episode series in which I asked artists, "Does art require an audience?" In season 2 of the podcast, each interview will begin with a new question: "Where does art belong?"
You can find the latest episode, plus the complete archive of Working (it) Out episodes on SoundCloud, iTunes, or on ArtSlant.
In the first edition of ArtReview’s Power 100, a mere four artists were included on the list of the art world’s most influential actors. That was 2002. By 2012 that number would creep up to 16 artists—nearly all men—after hovering in the single digits for most of the decade.
In 2013 the number of “powerful” artists spiked up to a quarter of ArtReview’s annual selectees, where it has remained ever since. This year’s list, which was released Thursday,... [more]
I lived in Havana as a child, and still visit frequently. Returning is always marked by relatives, friends, and of course a dose of tourist bliss—rum, beaches, and ruin lust. 
Ruin lust comes in large doses in Havana. It seems that after 1959 (Castro’s Socialist Revolution), time only began performing in one direction, aging and tearing apart the physical fabric of the city. Familiar images of Havana show vintage American cars that still (as if by miracle!) keep running; photoge... [more]
A crowd of chic young things stands on the balcony of a 13th century palace in the heart of Bologna, mingling as if their lives depended on it. On three sides, the sounds of different stages of electronic music are wafting into the night, while projected beams light up the masonry, young technology showing off the old building in a chiaroscuro of centuries.
The 8th edition of Bologna’s music and art festival, Robot08, took place from October 7 to 10, 2015. Focused on sounds from the elect... [more]
Pen to paper is writing or drawing. Paint to paper, or canvas, is painting. Paper to paper is collage. As a symbol, paper is a proxy for expressive efforts at large. With the exhibition Fractured: Works on Paper curator Rachel Moore uses work from 11 artists to remind us that the concepts we now so readily associate with digital technology—fragmentation, surveillance, hyper-subjectivity—are also intrinsic to what may be art's most primal faculty: sight. Fractured's scope is ambitious.
Art or Not? Art has many different forms. It can smell, move, be big, small, or even invisible. But when we look at art from afar, it often takes the single form of a flat image—all art has to face the challenges of the same medium, framed by our screens. With the term "art" as vague as this, what gives an artwork context now? Is it the editorial bête noir, the press release? Or can art hold its own and transmit a sense of "something more" without words to shape it?
This week, we've come across... [more]