Support Hyperallergic’s independent arts journalism.
The Institute of Contemporary Art at the University of Pennsylvania (ICA) presents Karyn Olivier: Everything That’s Alive Moves, a solo exhibition of six large-scale sculptures by Philadelphia-based artist Karyn Olivier. This exhibition offers the rare opportunity to examine the recent trajectories of Olivier’s investigation into memorials and monuments, and their relation to issues of citizenship and individual responsibility. The exhibition, on view January 24 through May 10, 2020, builds on several public projects and commissions created by the artist in recent years and continues to revise, rework, and expand on key works from her past.
Everything That’s Alive Moves brings together two tactics the artist has focused on in recent years: architectural scale and the minute, modest gesture. A fully-functioning carousel for one rider, a car made entirely of repurposed shoes — gathered for export to poor countries — and a brick wall built using clothing wedged between the bricks as mortar, are among the older works reimagined and constructed on-site at ICA.
Karyn Olivier’s recent thinking has been centered on civic space — specifically monuments and memorials, driven in part by her planning, building, and writing for several public commissions and memorials.
Three new sculptures reflect Olivier’s 2018–19 year of study in Rome, investigating the city’s ruins, histories, and public works. These sculptures also offer a chance to attune ourselves to her care for the accumulation of often-overlooked patterns, and how monuments have embedded in them the perpetual irresolution of overlapping histories.
Visit icaphila.org for more information on Karyn Olivier: Everything That’s Alive Moves. ICA admission is always free. For all.
Karyn Olivier: Everything That’s Alive Moves continues at the Institute of Contemporary Art, University of Pennsylvania (118 S. 36th Street Philadelphia, PA 19104) through May 10. The exhibition is organized by Anthony Elms, ICA Daniel and Brett Sundheim Chief Curator. The exhibition is accompanied by a fully illustrated monograph that will be released in 2020.
One hundred years after Mary Hiester Reid’s death, Flower Diary recovers the elusive, overlooked artist’s life and work
An exhibition of cabinet cards at LACMA showcases marketing and personal panache.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
Most eye miniatures were exchanged between lovers, though they were also given to close friends and family members.
In honor of National Hispanic Heritage Month, exhibitions on irises in art history, LGBTQ Pride, and more have been translated.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.
“The impossibility of reforming Tony [Soprano] bears some resemblance to the crisis plaguing museums and toxic philanthropy today, where a culture of bullying and exploitation belies programming of socially- and politically-engaged art.”