Traveling through the air is a humbling enterprise. No one is above the law of gravity; it’s an equalizing force that flattens all hierarchies. What goes up must come down, regardless of what it is. Down below distinctions between the 99 and 1 percent might seem more substantial, some of us own car elevators for instance, but on an airplane, coach and first-class are essentially just as noisy and uncomfortable during a crash landing. It seems a shame to think one second you might be winning the rat race and the next you could suffer the same fate as the dude in dead last. We might all be “children of the same God,” but I think Mitt Romney would agree that the ledger sheet of life should be fair and therefore unbalanced. Those who have earned the means to stave off meeting our maker prematurely should have the option to do so, and the Chariot, conceived by artist Wes Heiss, offers a solution for anyone worthy of a golden parachute.
Wes Heiss’s presentation of “Chariot” at Vox Populi, an artist-run gallery in Philly, is a modest proposal for an uber-wealthy escape pod. Offering all the trappings of a trade show, Heiss’s exhibition convincingly makes a case for protecting oneself from a plebeian demise. Including realistic CAD renderings, a commercial-ready video, and a 1:4 scale model prototype, the promotional package is made complete with a most unnerving tagline, “Because your life is worth it.”
Although originally exhibited in 2010 as a response to post-9/11 paranoia, Chariot can now be seen as a fitting metaphor for an election year highlighted by the disparity between the haves and have-nots. In a day and age when issues like health care, tax reform, and economic policy in general dominate the national conversation, it’s hard not to see in Heiss’s work a commentary on the luxuries afforded to the privileged few. And what better throne for the 1 percent, one that is impervious to the outside world, a hermetically sealed vacuum of blissful ignorance and safety from the pitfalls that beset the rest.
Cammie Tipton-Amini’s opinion piece “When Ukraine Was Newly Independent and Everything Was Possible” employs simplistic whataboutism that dangerously echoes Putin’s lies.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
Northwestern’s Block Museum of Art Presents A Site of Struggle: American Art against Anti-Black Violence
This new exhibition in Evanston, Illinois considers how art has been used to protest, process, mourn, and memorialize anti-Black violence for more than a century.
Define American has named the fourth cohort of its annual fellowship, which gives grants and career development opportunities to five artists.
The site of Michelangelo’s famous frescoes has a strict no-photos policy.
Guest curated by Alison Burstein, An Asterism* at the school’s Kellen Gallery in NYC features the work of 15 multidisciplinary artists, on view from May 16 through May 27.
Her short film Freshwater is now playing at the Museum of Contemporary Art Detroit.
In the artist’s new exhibition, Black moves away from her signature representation of commercial goods to celebrating the labors behind everyday life.
Over the past decade, the Taos-based artist has outfitted two vintage RVs with hundreds of cast glass pieces that collect light from the desert sky.