CHICAGO — In his latest series of photographs, recently published by the Center for American Places, Wolke turned his lens on the landscape of southern Italy. Entitled Architecture of Resignation: Photographs from the Mezzogiorno, the series consists of large-format images of places filled with the architectural detritus of millennia — marble columns that are the lone survivors of an ancient city, an abandoned World War II military base, the interior of a Roman grave littered with modern garbage, the remnant of a quarried hill, sculpted by industry until all that’s left is an unearthly, oddly beautiful lump rearing up from a flat landscape.
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CHICAGO — Martin Creed is a Scottish artist who won the British Turner Prize in 2001, but he is less well known in the United States. That might change in 2012, when Creed will be the artist in residence at Chicago’s Museum of Contemporary Art (MCA) for the whole year.
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Artist Leon Reid IV has a way with images. When he’s not remixing the urban environment, he’s playing with the context of art institutions that commission his work, which he always injects with a political or social message. His latest print series, Recent History, is a little of both.
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Born in Umlazi, which is south-west of Durban, South Africa, Hyperallergic spoke with Zanele Muholi to get a better understanding of how she views her practice in context to South Africa and the globe, as well as how she deals with exhibiting images of her participants openly in a community where they are potentially susceptible to violent backlash.
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This Wednesday, January 11, Arts and Culture groups from Occupy movements around the country will have the chance to meet over the phone. In a national conference call planned for 7pm, the groups will introduce themselves, propose projects and join forces on plans for the future of Occupy.
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Last month, we reported on artist Ophelia Chong, who discovered that Starbucks’ recent branding was strangely close to her own art work. The artist has since decided to drop the case and I asked her why.
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CAPE TOWN — Summertime in South Africa is not only a time for beach, sun and granadilla lollies (a locally-made fruit popsicle), with the influx of tourists it is also a time for survey exhibitions by galleries who want to showcase their stable of artists and give an overview of their wares.
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Grimanesa Amorós’s work has always been a little too big — literally and conceptually speaking — to be confined within the barriers of a gallery. Her light sculptures have encroached upon the streets of New York City, encountering passersby, mesmerizing them with paper sculptures and the translucent spheres for which she has become known. Though Tribeca Issey Miyake is hardly a vast, open space typical of interventionist art, in her new installation at the Japanese designer’s boutique the sculptures certainly confront new viewers and easily mixes fashion and fine art.
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We caught up with the Palestinian artist Larissa Sansour, who as we reported on Wednesday is the artist that the French luxury apparel label Lacoste wanted to exclude from the 2011 Lacoste Elysée Prize for being “too pro-Palestinian.”
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In October I had the opportunity to go to the opening of Tour and Trance, Matt Blackwell’s exhibition at the Edward Thorp Gallery. It’s a strange animated narrative that contains a whole cast of characters experiencing events and simultaneously forming and disintegrating in one moment. That evening we had some conversations on his life and thoughts and the stories that came out felt like some of the missing puzzle pieces. So, we began a conversation. I realized, I didn’t want to ask him the details behind specific pieces or anything detailed in general. I wanted to ask him vague open questions with a lot of room for rambling so we could meander around in his thought process the way his paintings meander around this weird world.
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