Interviews are some of our favorite content—and, we think, some of our most enduring. The ArtSlant “Rackroom” is an expanding public archive, filing away unfiltered insight straight from artists themselves. Over the years we’ve invited over 400 (and counting!) artists—emerging and established, some emerging who have since become established—into the Rackroom. These conversations touch upon urgent contemporary issues as well as the personal preoccupations of ou... [more]
Like other industries, the art world should come under the scrutiny of fair and equitable business practices. With so much privatization in the gallery and museum world, it's as good a time as any for consumers of culture to question where funds come from—and where profits are going. We've been seeking out the best not-for-profit and community conscious art spaces in the most commercial cities on the global art circuit. As part of our mission to give art a social slant, the latest stop in o... [more]
We run an online magazine, so of course, we're interested in what's happening with art on the web. We invited online gallerist, founder, and curator of Digital Sweat Gallery, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he'll be selecting a Web Artist of the Week. This week Petersen profiles Laura Brothers, who has given us 10 special and unique edits of her work.
Laura Brothers is one of the great enigmas of new media art. This partly stems from the fact th... [more]
Founded in 1994, Bamako Encounters: The African Biennale of Photography (or Rencontres Bamako) has had a long legacy as the first and leading international platform dedicated to photography and video on the African continent. Over its 20-year history the biennale has played a role in the increased visibility of African artists internationally, promoting both lesser-known photographers and multimedia artists as well as prominent practitioners like Malick Sidibé, Samuel Fosso, Pieter Hugo, and Zanele Muholi.
The Soho and Tribeca neighborhoods of New York City in the late 70s and early 80s were in many ways the hunting grounds of the original starving American artist. The painter Linda Francis puts it bluntly: “We were thieves.” She was part of an art tribe who illegally rented commercial lofts on the cheap and worked in a community, struggling to eat as much as to answer important questions about what constituted art. Was it Duchamp’s urinal turned fountain, Monet’s water li... [more]
We run an online magazine, so of course, we're interested in what's happening with art on the web. We invited online gallerist, founder, and curator of Digital Sweat Gallery, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he'll be selecting a Web Artist of the Week. This week Petersen profiles Belgian new media artist Eno Swinnen.
Belgian artist Eno Swinnen is a refreshing anomaly in the world of New Media art. His work uniquely blends the discipline’s tech an... [more]
Art or Not? This week we're in more need of a laugh than ever. Sometimes humor seems the only way to cope with the world. Can you tell the difference between a truly great idea and someone who's gaming the system? Does a good text elevate an image to the status of an artwork? We're not sure, but we have fun playing.
This week: which knife assemblage is a happy camper's accessory, and which is the thesis of a major Belgian artist?
In the series Shield, Protect, Endure the artist presents a devised... [more]
Does art require an audience? Does art require an audience?
I posed this question to a dozen artists over nine episodes of Working (it) Out, the ArtSlant podcast I began hosting this summer. It was a question that came up at the end of a master’s seminar class I was in last year, and it took me by surprise. My answer, which I assumed was really the only one, was “yes.” Yes, I thought, because without an audience, does it count as art?
I went home and put the question to my partner... [more]
Never forget the loop
The first time I encountered the loop was whilst using a Chinon Super 8 projector manufactured in the late 70s. Within seconds of my roll of Kodachrome entering the “auto-loading” machine the projected image began to jitter and convulse. After several further attempts the film buckled, broke, and bunched up in the gate where it was toasted by the searing hot halogen lamp.
The instruction booklet explained that although the film lacing process was totally automat... [more]
For Maize Mantis at The Kitchen this past October, Sergei Tcherepnin created an amalgam of dance performance, musical composition, and theatre. In this project drawing partly from Sergei Diaghilev’s production of Feu d’Artifice and incorporating paintings by Lucy Dodd and Kerstin Brätsch, the audience witnessed a host of characters—including wolves, jellyfish, and basketball players—whimsically navigate a landscape of light and sound. At the sonic height of the work... [more]
Table of Contents:
Closing the Loop: Does Art Require an Audience? | Gillian Dykeman
Maintaining a Clean and Healthy Image for 120 Years | Guy Parker
OOO: Three Loops to Unite Them All! | Jamie Keesling
The Circular Logic of Terrorism | Joel Kuennen
Closed Circuits and Bodies Electric | Janet Oh
Rafia Santana, DEAR DiARY, 2015
What does a loop look like? It’s not really a shape, is it? More than a steady form, a loop implies gesture, movement, directionality. It’s a vector that returns you to w... [more]
Charlotte Cotton’s book Photography Is Magic is one of the first collections of photography by a major publisher (Aperture) to acknowledge and explore the new generation of idea-driven image-makers. The publication, which that takes into account work that has emerged within the past decade, questions the role of photography in the post-internet environment, featuring artists that investigate and subvert its tools and techniques, and expand it into interdisciplinary realms and practices. These... [more]
Art or Not? Ok, let's be honest. Sometimes we get fed up with the art world. We're well aware that we're underpaid and under-read, and probably always will be, even if we stick to our guns (thanks for pointing that out, Jerry Saltz). The best thing to do is to laugh at our own absurdity and that's what we like to do on Fridays as we reflect on the flux of funny art that's landed in our inboxes over the week (often accompanied by equally absurd press releases).
This week, we're going back to nature. Ro... [more]
Photography—as James Loks pointed out not so long ago—is going through a phase of confidence, with surreal, hyperreal Toiletpaper aesthetics trending strongly in the work of emerging artists. John Berger, in his 1968 essay "Understanding a Photograph," refers to "those absurd studio works in which the photographer arranges every detail of his subject before he takes the picture."
Berger foresaw the great potential of photography as an artistic and humanist practice, but at the time he didn't p... [more]
Hosting 102 leading and emerging galleries from 24 countries, Contemporary Istanbul (CI) is one of Istanbul’s top international art fairs. More than its younger counterpart ArtInternational, CI presents the best that the local scene has to offer, and although it mainly brings together high-end commercial galleries, CI also hosts non-profits, artist initiatives, and even hybrid galleries that question the notion of “fine arts.” With its “Emerging” sector and wide range of Is... [more]
To ‘shine’ means to shine upon something, to make that upon which the light falls appear. —Hans Georg Gadamer
Almost every artwork needs a spectator, and artists need a platform to connect their work with those viewers. While today these platforms vary, artists still need spaces—be it the conventional gallery or the digital realm—that are able to reach and mobilize a broad audience. Galleries still matter: they not only provide artists with a means f... [more]