Bigindicator

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Scooter LaForge and the Aesthetics of Selfhood

by DARREN JONES
New York-based painter Scooter LaForge eschews the rites of passage predestined by the art world machinery of graduate programs, sanctioned residencies, and gallery hierarchy, in favor of an intuitive, exploratory approach. His decades-long career spans art, fashion and architecture—his ideas applied to canvas, clothing, buildings, and objects—and despite developing supportive networks and collaborations with ideological compatriots across these creative fields, he remains unattached to any one... [more]
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The End of Modern Curating and Artists’ Revenge

by Edo Dijksterhuis
It’s a pastime amongst art nerds: comparing favorites of past Documentas. Johan Grimonprez’s 9/11-foreshadowing video essay pops up almost immediately as one of Documenta X’s highlights. Thinking of the eleventh edition of Kassel’s mega-show brings to mind Raymond Pettibon’s overwhelming installation of drawings and Eija-Liisa Ahtila’s appealingly awkward video works. The barque Romuald Hazoumé constructed out of jerrycans for Documenta 12, entitled Dream, had an immense impact—and the... [more]
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Printing Paris: The Route (Part 3)

by Shoshana Kessler
Paris: a Poem (1919), employing a combination of traditional and modern printing techniques. The blog will feature small essays following her research on the poem and Mirrlees as she resets this forgotten masterwork. This essay is Part 3 of “Printing Paris: The Route.” You can find the first and second parts of the route plus an introduction to Hope Mirrlees, “Paris: A Poem,” and Shoshana Kessler’s project here.   RUE DE BEAUNE (12) In the seventh book of Wordsworth’s The Prelude,... [more]
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Jonathan Monaghan Answers 5 Questions

by The Artslant Team
  What are you trying to communicate with your work? I think my films, sculptures, and prints offer an experience in which a range of familiar imagery interact in unexpected ways. The imagery I use comes from mass consumerism and pop culture, but also the history of western power and wealth. The absurd conflations I make with this imagery, like a unicorn in a Starbucks or a DirectTV dish on a Faberge Egg, is an attempt to uncover what is suppressed or hidden within these... [more]
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Sprawling Group Shows Deny Black Revolutionary Artists the Space and Time They Deserve

by Jessica Lanay
The contemporary political and social hive mind of the Western World is preoccupied with issues of race and gender. The recent White Nationalist rally at the University of Virginia, the physical violence involved (mostly perpetrated on students protesting Neo-Nazism), and lukewarm statements from the White House encapsulate the struggle to break with patterns of a troubled past to fix the ails of a troubled present, and possibly escape a troubled future. We are indeed grappling with... [more]
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Portrait: The Art of Preservation with Harvard Conservation Scientist Narayan Khandekar

by Freunde von Freunden x ArtSlant
Freunde von Freunden. Think you know your colors? Red, orange, yellow, Yves Klein blue, even VantaBlack, perhaps? But how about Stuart Semple’s Pinkest Pink? Or the lost, forgotten, and rediscovered 17th-century lead-tin-antimony yellow? These are just a couple of examples from thousands of rare color pigments Narayan Khandekar works with in his role as Director of the Straus Center at Harvard Art Museums. When Khandekar isn’t digging up golden ochre from Australia’s Arnhem Land coast, he... [more]
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Can an Exhibition of Political Performance Art Spur Audiences to “Action!”?

by Olga Stefan
The title of Kunsthaus Zürich’s recent exhibition alluded to both its topic, performance art, but also to the institution’s framing the exhibition as a political statement in and of itself, taking an action of protest against the current ills affecting our society. Curator Mirjam Varadinis positioned the exhibition in contrast to other museums’ recent performance art exhibitions by arguing that, “Action! strikes out on its own by focusing on the moment of action not only formally but also... [more]
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Printing Paris: The Route (Part 2)

by Shoshana Kessler
Paris: a Poem (1919), employing a combination of traditional and modern printing techniques. The blog will feature small essays following her research on the poem and Mirrlees as she resets this forgotten masterwork. This essay is Part 2 of “Printing Paris: The Route.” You can find the first part of the route here, and an introduction to Hope Mirrlees, “Paris: A Poem,” and Shoshana Kessler’s project here.   CONCORDE (2) / TUILERIES (3) Using the poem as a map, we can make (I have... [more]
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Sophie Kahn Answers 5 Questions

by The Artslant Team
  What are you trying to communicate with your work? I'm interested in the unintended emotional resonance created by new imaging technology: the idea of ghostliness or haunting, a lack of life that is present in (specifically) 3D renderings that attempt to capture life.  What is an artist’s responsibility? While I have tremendous respect for artists whose work engages social practices and changes the face of communities and cities, my work personally engages with more individual... [more]
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Under the Radar: Andrea Rugarli | Troy Schooneman | Larry Madrigal

by The Artslant Team
Follow your favorite artists to see new work and exhibitions by adding them to your watchlist. Andrea Rugarli – New York Troy Schooneman – Australia Larry Madrigal – Peoria,... [more]