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LOS ANGELES — Printed Matter’s Art Book Fair is back in Los Angeles, bringing a dizzying number of programs and vendors to the Geffen Contemporary. For attendees looking for a diversion, five special exhibitor projects carve out unique spaces for play and commerce.
At Gagosian, a desktop record lathe is set up to produce limited run vinyl records for sale. Throughout the weekend, the space will press the latest record from artist Spencer Sweeney’s band I.U.D. in real time.
For fans of tabletop role-playing games like Dungeons & Dragons, Werkplaats Typografie offers Nonoki, a “Live Experience Role Play” (LERP) game whose mechanics seem as inscrutable as the fictional company that produces it. Whether it’s actually fun to play is hard to say, but the full board game set and individual game pieces are on sale for the adventurous.
Nearby, the Corita Art Center has mounted a small exhibition of the late artist and activist Corita Kent’s silkscreen prints and photographs, a nice segue into the adjacent Friendly Fire section of the fair that features small press editions focused on political and cultural activism. There, Paper Cuts, a collaboration between artists Sara Greenberger Rafferty and David Kennedy Cutler, has built a free-standing structure that doubles as exhibition space and vendor booth.
An excerpt from a new essay by artist Hito Steyerl, who has written in defense of the “poor” image, heralds the age of “first AIs, of poor, partially-developed artificial intelligences,” at the project space hosted by Anteism Books and Google’s Artists+Machine Intelligence (A+MI) program. “Poor” AIs are the creators of artworks in the project’s exhibition: paintings, photographs, and poetry made by increasingly sophisticated algorithms and machines. At a fair that still values the primacy of the handmade, it’s an interesting look at the ways in which authorship and creativity are being complicated in the face of technological advancements.
Printed Matter’s Los Angeles Art Book Fair 2019 continues at the Geffen Contemporary at MOCA (152 North Central Avenue, Los Angeles) through April 14.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
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.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.