This week, Creative Time Tweets begins on Wednesday, March 25 at 5pm with Man Bartlett’s “#24hPort” (2011) Twitter-facilitated performance at Manhattan’s Port Authority bus terminal. The project is the first of three commissions by Creative Time, and one of the first Twitter-based commissions by any major arts organization, which will include works by David Horvitz in June and Jill Magid in July.
Last Friday, I interviewed Creative Time Tweets curator Shane Brennan about the project and here is the video of that Skype conversation.
Shane Brennan: online space is the same as public space in many ways, the “noise” is there (spam, hecklers)
— Creative Time (@creativetime) March 15, 2011
Shane Brennan wanted to make the following clarification to his interview:
Ai Weiwei declined to participate in the Creative Time Tweets series due to his busy schedule before his arrest took place.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.
Shiv would definitely have a Chihuly chandelier.
“[The art market] provides an opportunity for people to move money in a way that they can’t with other commodities,” says FBI Special Agent Chris McKeogh.
Black American Portraits features over two centuries of artworks centering Black artists and subjects.
Weisman Museum of Art Presents Highlights From the Kinsey African American Art and History Collection
An exhibition at Pepperdine University in Malibu chronicles the achievements and contributions of African Americans over the last five centuries.
A love of Black art and history was the bedrock of the friendship between Dell Marie Hamilton and Susan Denker, who had markedly different racial, economic, and generational subject positions.
With what he says is his final museum bow, Fitzpatrick shines a light on the colorful diversity that composes his city.
The question of race — however hidden, however camouflaged by the shouts of the crowds — is a constant theme and an unanswered challenge.