Seph Rodney and Nile Davies discuss the retrospective of Danh Vo in a global context, scrutinizing the politics of belonging, objects, and history.
Drawing on many genres and styles, Vo meditates on history, freedom, love, faith, and death.
Organizers of the Vincent Van Gogh Biennial Award — known as the Vincent Award — have cancelled this year’s edition of the contemporary art prize, presented biennially since 2000 to a mid-career artist who lives and/or works in Europe.
Two artists have rejected their nominations for the Vincent Van Gogh Biennial Award for Contemporary Art in Europe, which is billed as “one of the world’s leading contemporary art prizes.”
LONDON — Losing the Compass, at White Cube in London’s Mason’s Yard, aspires to critique geographical, aesthetic, and other sorts of hierarchies.
Opening in the shadow of the Paris attacks, the exhibition Collected by Thea Westreich Wagner and Ethan Wagner represents — as Adam Weinberg, the director of the Whitney Museum of American Art, said in his remarks at the press preview — “a celebration of what matters in life.”
This week the ongoing legal feud between the Danish-Vietnamese artist Danh Vō and the Dutch collector Bert Kreuk took another turn toward infantile name-calling.
Jamie Stewart, of the band Xiu Xiu, describes how he and artist Danh Vō started to collaborate as “amorphous,” with Vō having incorporated some of Stewart’s lyrics from “Fabulous Muscles” into his visual art.
What is it about the personal collection on display that is so appealing, so instantly resonant? Danh Vo, the artist best known for his conceptual sculpture series We the People (detail), has presented in the exhibition I M U U R 2 some 4,000 objects from the home of Martin Wong.
Danh Vo is a Danish-Vietnamese artist who uses his international background to create poetic sculptures and installations that probe issues of identity and cultural heritage. For “We the People,” the artist turned the Statue of Liberty into 400 separate fragments, manufactured in Shanghai and distributed all over the world.
Danh Vo’s objects are unremarkable without history. We can debate until Miami freezes about over the place of artworks that don’t do much visually, that make references so opaque you have to a) be a specialist or b) have the work explained to you by an outside aid. Vo’s challenges to our assumptions about art are as frustrating as they are exciting.
Today, Guggenheim announced the following finalists for the 2012 Hugh Prize: Trisha Donnelly, Rashid Johnson, Qiu Zhijie, Monika Sosnowska, Danh Vo and Tris Vonna-Michell.