CHICAGO — There’s a 50 square mile area in China between Chendian Town, Chaonan and Gurao Town where most of the brassieres in the world are produced. It is with fascination and awareness of this global market that artist Priscilla Briggs embarked upon her photo series The Road to Shantou to tell a story of one aspect of China’s industrial revolution.
Briggs’ series highlights the billboards that line the road to Shantou — the models pictured are nearly nude, and almost exclusively white European women, which is contrasted with the Chinese text. Through her lens, the pieces become a comment on the West’s dependence on Chinese labor. In her portraits of both male and female factory workers, she portrays them as very much human and dignified, which is a rather stark contrast to this assortment of depressing images of Apple factory workers.
Briggs’ series brings a Western consumer’s eye to these brasserie factories, considering this mixture of cultures and commodities within a context global consumer capitalism. American artists Katie Parker and Guy Davis spent a month-long residency at the Pottery Workshop in Jingdezhen, China, and a tongue-in-cheek Mao influence found its way into their work — a monkey, for example, appears wearing a mask of the revolutionary’s face. But for Briggs, China remains the subject of her work which continues investigating China’s gap between communism and capitalism as evidenced by the proliferation of nail house, among other relics in the rapidly industrializing country.
Now playing the Cannes Film Festival, the new film from the director of The Square embarks on a luxury cruise that goes to hell.
By enshrining her memories into sculptural form, Juárez celebrates her emotional pilgrimage through the growing pains of childhood to adulthood.
Part of the university’s Artists on the Future series featuring renowned artists and cultural thought leaders, this online event is free and open to the public.
These university museum leaders are bridging cultural chasms through elaborate and generative work with their students.
Curators at the Maidan Museum in Kyiv are sifting through the rubble for items that “tell the story of ordinary people’s lives, of their deaths.”
This illustrated guide offers readers a broad and accessible introduction to the evolution of Armenian modern and contemporary art.
The cube, which has fallen into disrepair, was strapped in place by supportive metal implements at its base.
Inigo Philbrick misrepresented the ownership of and fraudulently traded in works by Jean-Michel Basquiat, Yayoi Kusama, and others.
This rigorous, studio-based program in Philadelphia focuses on building unique studio practices that synthesize the disciplines of printmaking, book arts, and papermaking.
Author M. T. Anderson walks us through a sonic gallery of Vasily Kandinsky’s musical influences, which guided the painter’s pursuit of art that reveals a mystical, inner truth.
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.