The letter urges the government to redirect millions in funds currently dedicated to converting Mexico’s largest park into a cultural center designed by artist Gabriel Orozco.
What makes Written Matter different from some artists’ journals is that one need not be familiar with Orozco — or even the legacy of Conceptualism to which his work is tethered — to enjoy it.
The artist’s new installation in Mexico City, a functioning convenience store inside a gallery, peddles a false analogy between art and disposable commodities.
MEXICO CITY — Between 1987 and 1992, a group of young art students in Mexico City formed a weekly flux group of creative exchange and critique as an alternative to the overly traditional fine art education available to them.
Some artists display their hometown pride (or lack thereof) all over their canvases: One of William Eggleston’s most famous photographs, for example, was shot near where he grew up, in Sumner, Mississippi.
FORT WORTH, Texas — It often seems like the world is made up of pairs: Christo and Jean Claude, Hall and Oates, peanut butter and jelly. Yet some things that seem like they’d fit well together have not cohabitated as one would assume. Take contemporary Mexican art and the state of Texas.
I first learned about Cubism in an art history class my sophomore year of college. I remember the moment of revelation, after reading a lot about but still failing to grasp what exactly Picasso and Braque were after. In the darkened lecture hall one afternoon, our teacher summed it up this way: how sparingly could you paint a face while still having the viewer understand it as a face? What was the bare minimum required for representation? As legend has it, these questions and the art they inspired changed the course of art history forever.
Is the same true of the digital revolution? That’s the premise of Decenter, an exhibition curated Andrianna Campbell and Daniel S. Palmer and currently on view at the Abrons Arts Center.
In a side gallery off the Guggenheim’s main spiral, it looks like a tide of water came and went, leaving behind piles of bricks, wood, and detritus ripped from their original contexts and tossed into disarray. It’s not unlike certain parts of the New York City area, post-Sandy. The difference is that in the museum, the scrabble is neatly arranged into a rectangular patch of floor and organized by color in a rainbow gradient only slightly darkened by mud.
Mexican artist Gabriel Orozco is a master of the appropriated object — throughout his career, he has turned mundane objects like pool tables, soccer balls, and yellow scooters into extraordinary sculptures. On Tuesday, November 13 at 6:30 pm, he’s speaking with legendary art critic Benjamin Buchloh about his latest project at the Guggenheim museum.
This week, new Banksy, artists/writers design money, early Christian art, talking to Gabriel Orozco, catalogue raisonnés, modern art toilets, globalizing art history, design criticism and political photo trends.
What is it about boxes that is so fascinating? I was thinking this as I went into Chicago’s Museum of Contemporary Art to see Pandora’s Box, a show that displays artist Joseph Cornell’s signature assemblages alongside the works of artists who allegedly were inspired by him or who were in artistic sympathy with him. I can think of historical precedents: medieval reliquaries; Victorian memento mori, which often look strikingly like Cornell’s miniature worlds. But these forebears don’t quite explain the combination of weirdness and visual beauty of something made by Cornell, nor the undoubted fascination with him since his death. His boxes frame the objects in a different way than a conventional picture frame, of course; they concentrate the viewer’s attention; but there’s something else, which finally came to me after I’d seen this show.