Support Hyperallergic’s independent arts journalism.
Between the utopian music festivals of the late 1960s and the corporate behemoths they’ve become, a series of site-specific concerts in Southern California once offered an alternative, wildly independent vision of what these types of events could be. Spanning only a few years in the mid-80s, the Desolation Center happenings were punk concerts that took place in unorthodox locations, such as the Mojave Desert northeast of Los Angeles, or aboard a chartered whale-watching ship. Despite the challenging nature of their settings, these events featured some of the most influential punk and post-punk bands of the era: Minutemen, Sonic Youth, Meat Puppets, Einstürzende Neubauten, Saccharine Trust, Savage Republic, and others. A number of notable visual artists were also involved, such as Raymond Pettibon, Anthony Ausgang, and Rick Potts, a founding member of experimental collective, the Los Angeles Free Music Society.
From the Desert to the Sea: The Desolation Center Experience aims to re-examine the significance of this phenomenon through period photography and video, as well as paintings and sculptures by related artists and musicians including Mike Watt of Minutemen, Cris Kirkwood of the Meat Puppets, Kristine Kryttre, John Tottenham, Bruce Licher, and others. Co-curated by Desolation Center founder Stuart Swezey, with Laurie Steelink, Craig Ibarra, and Mariska Leyssius, the exhibition should illuminate this overlooked but fertile period in LA’s musical and artistic history.
When: Opens Saturday, June 17, 6–9pm
Where: Cornelius Projects (1417 South Pacific Avenue, San Pedro, California)
More info here.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.