José Lerma and Héctor Madera‘s bright and oversized busts are currently at Saatchi Gallery in London but will move to the MCA in Chicago this December. Also check out some of Madera’s portraits on his website.
Image of Young Jean Lee’s Untitled Feminist Show (source)
Article on Art Radar: nudity to challenge state corruption in China, an interview with Kimsooja (who represents South Korea in the Venice Biennale this year), an interview with Afghanistan’s first female street artist, and finally, I was thrilled to see an article on Young Sun Han! Hang grew up outside of Chicago (and has since lived all over the world). I had the pleasure of meeting him last year. Some of his work addresses his North Korean heritage.
Last spring I had the privilege of seeing Young Jean Lee’s Untitled Feminist Show at the MCA in Chicago. The experience was shocking, liberating, energizing, and hands down the most intelligent and provoking work I’ve seen on a stage. I also saw a talk with Lee before the performance and met her briefly afterwards, she was humble, intelligent, and gracious. This week I was thrilled to see a piece about her “We’re Gonna Die” on the New York Times. Here’s a clip about it on NYT (I love that the next clip is about Avenue Q) and Lee’s Viemo stream.
I always enjoy immersive art via DesignBoom.
Have you heard of the Museum of Old and New Art in Tasmania? The name of the museum doesn’t revel the content of the collection: sex and death. Here’s an article about it from the New Yorker.
Doosan Gallery in Seoul just opened the exhibition The Next Generation. Someone go take a peak for me!
Five films for those who are involved in the arts via Art Radar. I show Un chien Andalou to my students the second day of class!
Hazel Dooney on the gallery system.
Some portraits on DesignBoom: Kim Jong Il framed in pink, colorful x-rays, and lego heads.
A little bit of nepotism, my sister just moved to England and started a new blog to document the experience with her stunning photography and marvelous writing. She used to write here.
Kara Walker will be at the AIC in February!
Today I’m visiting the Museum of Contemporary Art Chicago’s exhibition Color Bind: The MCA Collection in Black and White. As the MCA’s website says, “With dozens of works in all media, Color Bind muses on the ways the English words “black” and “white” evoke both simple formal notions and metaphors for race, politics, and historical movements. Set to coincide with the recent US presidential election, this exhibition calls attention to the ways seemingly neutral formal terms assume moral dimensions that, in turn, complicate and politicize the very works assumed to be neutral.”
To prep for my trip to the museum I read part of Linda Alcoff’s Visible Identities and this quick discussion on Art Info with Christopher K. Ho and Roger White about the idea surrounding Ho’s exhibition “Privileged White People” at Forever & Today, Inc. in NYC.
In light of the Oscar nomination list being released: NY Times, “Female Directors Gain Ground, Slowly.” Alison Klayman, the director of Ai Weiwei: Never Sorry, was featured in the piece. I can’t wait to hear what Coming off the Reels has to say about it.
On Friday Molly and I ventured to the MCA Chicago. The main exhibition right now is Language of Less (Then and Now). The exhibition was divided in two–artists’ work from the past and artists’ work from today. Below is my favorite work from the exhibition.
Tony Conrad, Yellow Movie, 2/28/73
The very large piece is meant to convey the inevitable decay of art and life. It is hard to tell from this picture but the area inside the black frame is covered in white paint. It is an active work because the white paint is slowly but surely becoming more yellow and worn–the effect of time. The massive sheet of paper shows creases, dirty spots, dripped ink, and a torn corner. For me those marks are what keep Yellow Movie alive in time. The marks of the person that created it, his intimate interaction with the canvas.
Click here to hear a quick clip of Conrad speaking about the work.
IT, Bagged Rothko, 1965*
The above piece was part of another exhibition in a gallery upstairs. I just enjoyed it for the surface value of the blatant echoing of a Mark Rothko painting. More on that later.
*The MCA listed the artists as IT which is a pseudonym. The National Gallery of Canada owns the piece and they list the artist as N.E. Thing Co..