LONDON — A box of thin elastic bands, resting on a circular plinth, pose a challenge. Can you, the wall text asks, pass the length of your body through one of these rubbery rings? The answer in my case was sadly no, but taking part is what counts. “Going to a show is not enough sometimes,” says Shimabuku. “I think it’s nice to use the body a bit.”
CHICAGO — Ohio. It’s not all cornfields, protesters, and lost highways. From Crosby, Stills, Nash and Young’s song “O-H-I-O” about the 1970 shooting of Kent State students to fascinating and devastating cities like Elyria, a once-thriving steel town, Ohio is an example of American economic and cultural production and destruction.
The Detroit News has reported that it was Emergency Manager Kevin Orr who brought in Christie’s to appraise the Detroit Institute of Arts (DIA) collection. Orr, who in turn claimed that he is acting on behalf of creditors, has come under fire in recent weeks for his seemingly cavalier treatment of the DIA collection as the city forges into the grueling bankruptcy process.
Seventeen spartan benches rest in a white-walled room with one window and overhead lighting. On display at Murray Guy, the benches are the result of years of exacting effort by artist Francis Cape to record and reproduce the humble seats of congregants in intentional communities. These groups were America’s 19th-century utopian experiment: the Shakers, Separatists of Zoar, Hutterites, and others who sought an alternative way of living.
The painter Johannes Vermeer is known for his incredible treatment of light and the almost photographic realism of his 17th-century scenes. How did he do it without the use of a camera, which was invented some 150 years later? That was the question driving Texas man Tim Jenison when he went on a quest to understand the artist and his art. Jenison’s journey was captured on film by Teller, of the magic act Penn & Teller, and will be released as a documentary next year by Sony Pictures Classics, Deadline reports.
CHICAGO — The selfie is a smartphone-produced version of the self-portrait, which has been a staple of art and photography history since artists first began seeing examining their own images in the mirror.
Culled from old medical illustrations and National Geographic, pornographic, motorcycle, and fashion magazine clippings, Wangechi Mutu’s writhing female figures have a dangerous beauty to them, one that’s grotesque and alluring all at once. A traveling exhibition — recently closed at Duke’s Nasher Museum of Art and opening in October at the Brooklyn Museum — surveys her experimentation with history, gender, and race since the mid-1990s.
Tomato, tomahto …