The debut exhibition at New Mexico State University explores the nuances of labor — in birth, in childrearing, and in intergenerational collaboration.
Nakadate’s The Kingdom is haunted by grief and irrevocable loss.
People were photographing themselves long before the advent of iPhones. A collection of proto-selfies from the mid to late 20th century come together at the Austrian Cultural Forum for the summer exhibition Self-Timer Stories, curated by Felicitas Thun-Hohenstein.
CHICAGO — I didn’t want to go to the art fair. I never do. A lot of stuff at art fairs is the same-ish, and galleries are trying their best to sell the most. Yet the art fairs keep coming, and as the market has proven Chicago is no exception.
I have been in the presence of the Grand Canyon four times so far, have been down the lip of the Grand Canyon a couple of miles, have seen it in a variety of seasons — spring, summer, and fall — in a variety of weather conditions — snowfall on the rim and desert heat down below — among a throng and in a stupefied solitude, and so far I have not depleted the Grand Canyon. Indeed, I have not yet made a start on it.
As the child of an interracial marriage (I got to meet my blue-eyed, English grandmother when I was seven, later discovering that she bore an uncanny resemblance to Virginia Woolf), I have to admit to having more than a passing interest in Laurel Nakadate’s most recent, ongoing photo project, Relations, which is included in her current exhibition Strangers and Relations at Leslie Tonkonow Artworks + Projects (May 11 to June 29, 2013).
“The museum is a participatory social space,” Klaus Biesenbach, director of MoMA PS1 and Chief Curator at Large for MoMA, said to an eager crown of 200 in his introductory address for this inaugural edition of his Summer School series. Modeled after the salon style teaching more commonly practiced in European arts capitals, PS1’s two-part lecture series was offered free to undergraduates. It featured a classroom experience with James Franco and Gus Van Sant, among others.
MoMA photography curator Roxana Marcoci knows that we are experiencing a “renaissance of performance”. The show she has curated in collaboration with Eva Respini, Staging Action: Performance in Photography since 1960, will explore the role of the photographic image in this surge of performative work, both as a document of the performance and as art work on its own. The MoMA exhibition, which opens this Friday January 28, begins in the 1960s at a time when performance began to emerge as a singular field of art based on the carrying out of specific art actions.