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Wednesday Web Artist of the Week: Julia Greenway

by Christian Petersen
This week’s Web Artist of the Week is not an artist, but a gallerist and curator, as we zoom out to feature the arts professionals working to expand the spaces and visibility of new media and digital art. Julia Greenway is part of a slowly growing global movement of people dedicating physical galleries to new media art. Shows featuring new media are now fairly commonplace but gallerists deciding to focus on it exclusively are still relatively rare. Greenway’s Seattle gallery Interstitial stands as the sole permanent beacon of new media in a city that has been surprisingly slow to embr... [more]
Posted by Christian Petersen on 10/19
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Jamian Juliano-Villani's Awkward Paintings Make Discomfort an Asset

by Cassie Davies
“I’d never put this shit in my house, ever,” Jamian Juliano-Villani told Hans Ulrich Obrist during a Frieze Week artist talk. She was referring to her own paintings, installed around the audience at Studio Voltaire. There is nothing pretty about Juliano-Villani’s garish, and slightly disturbing, cartoon paintings—no offence to the artist, and probably none taken. Juliano-Villani began painting four years ago, after leaving New Jersey and moving into an apartment in New York City. She taught herself how to paint, learning from internships at artist studios, YouTube videos, a... [more]
Posted by Cassie Davies on 10/17
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Wednesday Web Artist of the Week: Elizabeth Mputu

by Christian Petersen
Orlando-based Elizabeth Mputu is part of a rising wave of new media artists using digital platforms to express powerful political and social ideas through their work. Her art deals thoughtfully and forcefully with issues of feminism, gender, sexuality, inequality, and race, all projected through the lens of someone who has grown up saturated in all aspects of digital culture. Mputu’s work combines abstract conceptualism, experimental video, performance, poetry, found digital ephemera, selfies, music (and much more) into defiantly cohesive trains of thought. Although her work is profoundly con... [more]
Posted by Christian Petersen on 10/5
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Backstage in Kahlil Joseph’s Wizard of the Upper Amazon

by Julie Weitz
After a Bob Marley concert in 1979 at the Santa Barbara County Bowl, the artist Henry Taylor found himself backstage, seated next to the legend himself. Eyes closed, Marley sat silent in meditation for twenty minutes before engaging Taylor in what felt like an hour-long conversation. What was exchanged between them is unknown, but the memory stayed with Taylor forever. Kahlil Joseph’s new film and installation Wizard of the Upper Amazon (WOTUA), which accompanies Taylor’s three-room exhibition on class, race, and painting at Blum & Poe, is a dreamlike impression of Taylor’s... [more]
Posted by Julie Weitz on 10/5
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These Artists Took Politics into Their Own Hands

by Edo Dijksterhuis
American politics has always had its fair share of weirdness, but with presidential debate season underway we’ve reached new levels of surrealism. In the days following the first debate, YouTube videos circulated showing guys bashing in TV screens with baseball bats, dropping them from balconies, or even head butting them into oblivion. Not very productive, but at least these disgusted viewers cared enough to react. But there are also those who, instead of punching TVs in frustration, have taken their grievances, and their ideas, to the campaign trail. Over history—and even in this very... [more]
Posted by Edo Dijksterhuis on 10/4
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Genevieve Gaignard: “You’re Not That, But You’re Not Not That.”

by Alex Anderson
Los Angeles, September 2016: Genevieve Gaignard is a magician. She sees you and she sees you seeing her. Revealing our experience and understanding of race, gender, sexuality, and their complex perceptions under the western heteropatriarchal gaze, the Los Angeles-based artist uses self-portraiture and sculpture to find truth in the abstract aporia of identity. The characters she creates and portrays engage with the aesthetic language of Afropunk, substance chic Hollywood glamor, and the suburban working class of generations past to create layered caricatures of the myriad ways people see her many se... [more]
Posted by Alex Anderson on 9/29
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In Long-Awaited Museum Survey, Toba Khedoori Drafts Exquisite Solitude

by Emily Nimptsch
It is odd to think that minimalist Toba Khedoori’s solo exhibition, currently on display at the Los Angeles County Museum of Art, is her first major museum presentation in her adopted hometown of Los Angeles, considering that she has been a staple and original voice in the city’s art scene since the early 1990s. This long overdue survey, featuring work spanning 25 years, beautifully highlights Khedoori’s career and intricate draftsmanship. It also delves into a significant theme in her work: belonging, or the lack thereof. Just as her images reside in the no man’s land... [more]
Posted by Emily Nimptsch on 9/29
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With Incarcerated Artists, Amy M. Ho Transforms Memory into Space

by Leora Lutz
Visitors enter a dark gallery. As their eyes adjust they find themselves faced with a wooden frame structure occupying almost the entire space. They can walk inside of it or around it. Projected on one wall of the structure is a video of a white, humble room furnished with simple white stools, tables, and shelves. Every fifteen minutes a small origami crane mobile appears near a doorway, then disappears. There is something off-kilter with the objects on screen; they are life-size, yet they seem to be made of cardboard or paper, lending them a fragile and ephemeral quality. The projected room has... [more]
Posted by Leora Lutz on 9/27
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Coming to Power (Again): A 1993 Exhibition of Sexually Explicit Feminist Art Still Resonates

by Olivia B. Murphy
Entering Maccarone Gallery on the evening of the opening for Coming to Power: 25 Years of Sexually X-plicit Art By Women, almost felt like walking into a reunion. This is possibly because the exhibition is a restaging of a 1993 show curated by Ellen Cantor at the then brand new David Zwirner Gallery, but also because there is a level of communal excitement that goes beyond the usual group show fervor. It’s an excitement indicative of the unprecedented effort on the part of Maccarone and six other New York institutions in celebrating the life and work of the feminist artist, filmmaker, and... [more]
Posted by Olivia B. Murphy on 9/30
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One Year On, Is Theaster Gates Reimagining the Modern Museum at the Stony Island Arts Bank?

by Lindsey Anderson
I first visited the Stony Island Arts Bank about six months ago, on an unseasonably warm Saturday afternoon in April. As I approached the building, I was struck first by the sunlight slanting through its massive stone columns, second by how much it stood out from its surroundings. It looked as if the Field Museum had a child—a rebellious teenager—who snuck away from Chicago’s Museum Campus in the middle of the night to start a new life on a sleepy South Side street. And, in a sense, that’s kind of what happened. The Arts Bank is billed by its creator, artist-activist Theas... [more]
Posted by Lindsey Anderson on 9/22