Bigindicator

Osman Can Yerebakan

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A New York City native, Adrian Piper now lives in Berlin after her refusal to return to the States following her inclusion on a TSA “suspicious traveler” watch list in 2008; Rosemarie Trockel has lived in Germany her entire life. Cursory research suggests the artists’ affiliation goes little beyond a handful of group exhibitions they were featured in together. Despite the ostensive differences in their backgrounds and artistic practices, their current New York solo exhibitions, located a few... [more]
With politically conscious art on the rise, a notable number of artists have turned to as a vessel to convey social and political turmoil. The Gray Lady recently featured in solo exhibitions of Wade Guyton and A.K. Burns, and this year’s Whitney Biennial introduced Julien Nguyen’s depictions of the paper’s front pages as allegorical tableaux and Aliza Nisenbaum’s soothing paintings of domestic life, including a vignette of a couple reading their copy of the Times. The FLAG Art Foundation’s... [more]
When I visited Nari Ward’s Socrates Sculpture Park exhibition on a spring day, children were roaming the park, enjoying the mellow weather. Presumably on a day trip from a local school in Queens, these kids of diverse backgrounds and and colors, were climbing on Scapegoat, a mammoth-scale goat figure reclining in the middle of the park. They were giggling at Bipartition Bell, a pair of giant copper goat testicles hanging from a steel and wood structure, facetiously evoking the Liberty Bell in... [more]
One of the most unassuming artworks in A.K. Burns’ exhibition and residency, , is perhaps also the best reflection of the artist’s three-month tenure at the New Museum and her concurrent Callicoon Fine Arts exhibition, Fault Lines. Nestled at the end of a corridor on the museum’s fifth floor, Post Times (drop open) straddles the rift between utility and inertia, the body and environment, endurance and decay. A thin wooden latch, running the length of two closet doors is fully plastered with... [more]
A temporary tattoo of random letters in Lawrence Weiner’s iconic script; a Gilbert & George pin reading “Burn That Book”; a black and white t-shirt by Rirkrit Tiravanija—these were all in my brown paper bag as I walked down 5th Avenue. No, I was not leaving a private auction, nor am I a millionaire collector. All of these artworks, and many more by some of the world’s most prominent contemporary artists, are available at the Jewish Museum right now—for free—in . The exhibition, in which... [more]
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In a Moving Orchestra of Grief, Mourning Is a Professional—and Political—Act   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Taryn Simon at Park Avenue Armory September 13th, 2016 - September 25th, 2016
Posted 9/19/16
“Each of us has his own rhythm of suffering” Roland Barthes wrote in his following the death of his mother with whom he lived until her passing. The performance of suffering, and the unique, personal rhythms it can take, is at the center of An Occupation of Loss, Taryn Simon’s monumental installation and performance now in its two-week tenure at the Park Avenue Armory. Eleven concrete towers—thin, cylindrical, dystopian—trace a semicircle through the center of the Armory’s dimmed Wade... [more]
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At the Guggenheim, Artists Enlist Architecture to Subvert and Expand Histories   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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at Solomon R. Guggenheim Museum April 29th, 2016 - October 5th, 2016
Posted 8/11/16
“But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.” Walter Benjamin wrote these words describing Paul Klee’s in his 1940 essay “These on the Philosophy of History.” The storm, he continues, is “what we call progress.” In the Guggenheim Museum’s ongoing group exhibition But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, which opened this spring, progress blows through emblems... [more]
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Sam Lewitt's Temperature-Raising Intervention Is More Than a Hot Take   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Sam Lewitt at Swiss Institute June 8th, 2016 - July 24th, 2016
Posted 6/29/16
The temperature in New York had reached the low 80s when I schlepped downtown for Sam Lewitt's at the Swiss Institute. Entering the gallery, which is nestled between the frenzy of Canal street and SoHo, it immediately became clear that the title of Lewitt’s intervention was a massive understatement.  Dispersed throughout the otherwise serene gallery space are large-scale copper heating circuits connected to the tall ceiling with loosely hung black wires. Dominating the exhibition more... [more]
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Jonathan Horowitz Takes on Liberalism, Because It's a Person Too   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Jonathan Horowitz at The Brant Foundation Art Study Center May 8th, 2016 - October 1st, 2016
Posted 5/25/16
, Jonathan Horowitz’s current exhibition at the Brant Foundation in Connecticut, delves into the gnarly path of politics—or being political per se—from its pun-intended title to its promotional poster espousing we all “Go Vegan!” Billed as an era-specific retrospective, the exhibition largely unfolds into the various bodies of works the artist has created since Obama entered the White House, and Horowitz swiftly maneuvers around issues that may or may not intersect in any public debate or... [more]
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