One of the best things I read about the status of art in the public space this year was written by Edo Dijksterhuis, covering Taturo Atzu's rooftop intervention on Amsterdam's oldest church: "It becomes like urban furniture, not something people notice. No one seems to care about monuments or how they’re perceived, whether they’re perceived at all. It takes a conscious effort to really see them again."
This really made me think: public art is a huge commitment, but it's true—i... [more]
Michael Heizer once wittily described the Fall art season as the art world equivalent to duck hunting season, with collectors and viewers returning from their summer homes hungry for new art experiences. While it might seem a bit of a stretch, and maybe a little deprecating to the artist ducklings, there is some truth to that feeling of anticipation we have of wanting to see what is going on after the dog days of August.
Albert Oehlen, Untitled, 2008, Oil and paper on canvas, 78 3/4 x 94 1/2... [more]
Like other industries, the art world should come under the scrunity 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. This summer, we're 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 third stop... [more]
Hal Foster's new book, Bad New Days: Art, Criticism, Emergency, is set for release on Tuesday, September, 8. In it, Foster, Townsend Martin Professor of Art and Archaeology at Princeton University, works through art's recent history to find what is and isn't working within the arts.
Considering recent paradigms of art ranging from "abject" to "post-critical," Foster uses his plain, incisive style to help locate the failures of contemporary art in hopes that more novel and critical art can come to the f... [more]
It's time to emerge from our summer carapace and get on the gallery trail again. ArtSlant's editors and writers have been sifting through the torrents of press releases and Facebook events to find the best September has to offer—from the big institutes to the alternative art venues that might not be on your radar. How do we decide what makes it into our top 15? Of course, there are many good exhibitions to be found outside of this necessary reduction, but our editorial staff have an eye f... [more]
I was recently at an art fair where one gallery—that shall remain nameless—presented the work of a young artist in a solo booth. The work, while distinct in some ways, was at the very least derivative of Anish Kapoor’s wall mounted discs. Enameled aluminum panels in sweeping gradients, they were perfectly suited to the market of the fair: take it home, put it on a wall. They were robust, large works that shouted “wealth.” Sold for $800-$2000 apiece. By the third da... [more]
In today's mode of techno-voyeurism, we're constantly peeking into the factory to see how the sausage is made. The artist's studio has always had an allure, the inchoate site of creativity, the setting for private practice—like an escort's boudoir, the biggest mystery is, what do they do when they're alone in there?
We zoom in closer to see what artists keep on their most personal work space: their desk. What does it reveal about them, or about their art? We invite artists from very different... [more]
Art or Not? Visitors to the museum or fine art institution are often concerned about being the butt of an artist's joke, not privy to some marketing ploy, where they are statiscial cogs in a machine churning out money for ideas. But wouldn't it be a fine thing if we could make artworks out of experience—removing the need for product, structure, and market, altogether?
This week: Awkward mishaps happen. But which of the images described below is a clandestine capture of a situation staged by a very ra... [more]
The Broad Museum’s September 20 opening in downtown Los Angeles is just under a month away. “You had to remind me of that,” Joanne Heyler laughs—her humility doesn’t quite feel nervous, more pragmatic. If there is anyone capable of executing the huge task ahead, it’s her. “Ars longus, vita brevis. I’m living that,” says Heyler, describing her long-standing career with the Broads.
Heyler began working at The Broad Art Foundation back in 1989, and... [more]
Amir H. Fallah’s portraits resemble the site of an archaeological dig. When Howard Carter discovered King Tut’s tomb, the young pharaoh’s body was wrapped in shrouds with his material possessions painstakingly arranged around him. Likewise, Fallah incorporates everyday objects from a subject’s home into ornate, unconventional portraits that obscure the figure’s face, finding profound connections in the seemingly mundane and charm in the ugly. It’s not coincidental t... [more]
When art and artists appear as a subject in cinema, it's typically in the form of a too lengthy/too sexy biopic (think: Mr. Turner or Frida) or a hyperbolic thriller that suffuses the cliché of scintillating glamor with filthy corruption (The Thomas Crown Affair, anyone?)
The big screen is always attracted to prurience, but there are some movies in the straight-to-dvd crate that, whether they present artifice or archetype, deserve to be revived for the morsels of wisdom they impart abou... [more]
Welcome to the eighth installation of the Artslant podcast series, Working (it) Out.
My name is Gillian Dykeman, and I'm a visual artist living in Toronto, Ontario. This summer, I am interviewing artists to ask about the role of audience in their practice. Each interview will begin with one question: "Does art require an audience?"
Working (it) Out with Gillian Dykeman
Episode Eight | Nicole Miller: Conducting Subjectivity
Laughing yoga (4:00)
The audience completes the work (5:45)
Sculptures We Do Not See, an exhibition showcasing Soviet Era art, opened last Friday at Moscow's Manege Center. The exhibition included works from participants of the LeSS group, active in parallel to conventional art of the Soviet era, including artists such as Vadim Sidur, Nikolai Silis, and Vladimir Lemport. Topics surrounding the works include religious themes—a censored subject during Russia’s Soviet reign between 1922 and 1991.
Decades after creation, and the sculptures stil... [more]
Art or Not? The internet has taken a lot of art out of its context, so that it floats in mass visual culture. When we look at art out of context, how does it appear? Do the texts that tag along with it become more necessary or block the pure usufruct of art?
This week: standard lamp, or serious lampoon?
The artist often draws upon the quirky banalities of his own autobiographic existence to develop his sculptures and performances. His work merges art and life with a comedic twist that is instantaneously... [more]
Like other industries, the art world should come under the scrunity 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. This summer, we're 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 second s... [more]
The Secret Art Sale Exhibition has been popping up all over the place lately: we reported from Art Dubai on the RCA's Secret Dubai and the democratizing power of the anonymous auction.
Now London's Fold Gallery in partnership with social art enterprise Artbox are hosting a summer inspired secret postcard sale. Starting August 20 and running for a week, Artbox London has taken the RCA format—exhibiting the work of 30 artists with learning disabilities alongside internationally acclaimed names. The funds rai... [more]