[oil on canvas]
Sunday, February 21, 2016
Wayne Lawrence
[2016, siblings Julie, Antonio, and India Abram collect their daily allowance of bottled water from Fire Station #3, Flint, Michigan]
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'There's Solid Militia Fashion, but Come On, Domestic Like Focus Always', 2015 by Torey Thornton
[acrylic paint, oil pastel, sharpie, graphite, nail polish, and marker on paper; 68 1/2 x 86 1/4 inches,(174 x 219.1 cm)]
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Thursday, February 18, 2016
'Dark Pool Party' by Hannah Black
Wednesday, February 17, 2016
Tuesday, February 16, 2016
Monday, February 15, 2016
'Perched', 2016 by Tschabalala Self
[oil, acrylic, flashe, handmade paper, fabric, canvas, insulation material and pastel on canvas; 60 x 72 inches]
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‘Grandma’s Boy’ Brandon Drew Holmes
[Taken from Brandon Drew Holmes & Tracy Jeanne Rosenthal's split cassette titled Art Isn't Fair/Grandma's Boy. Published by Practical Records with Los Angeles Archival Poetry Project.
Tracy Jeanne Rosenthal is over being an art critic but will probably still do it for the money and vague institutional recognition. Brandon Drew Holmes is the son of Mia Vaughn and Baskerville Holmes.]
www.practicalrecords.info
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Tracy Jeanne Rosenthal is over being an art critic but will probably still do it for the money and vague institutional recognition. Brandon Drew Holmes is the son of Mia Vaughn and Baskerville Holmes.]
www.practicalrecords.info
LINK
'Bone Dry' Stephanie Hier & Larissa Lockshin @ Three Four Three Four [NYC/USA]
“Bone Dry”
Stephanie Hier & Larissa Lockshin
February 20th – March 15th MMXVI
Three Four Three Four, Brooklyn
Opening Saturday, February 20th 6-10pm
Three Four Three Four is pleased to present "Bone Dry", a two person show by Stephanie Hier & Larissa Lockshin.
“Men are mere mortals who are not worth going to
your grave for.” -Shirley Bassey
I remember a tale of groundlings who shed faster than rumblings of a long night's flame kissing Eaaarth eternal, Eaaarth most holy. After every soul spoke of routine did an oxblood quickness overtake an enveloping greystricken horizon. Approaching awe twisted in rotating knots until each night became a candlestick longer, turn, turn, turn. Here come mineral and transfiguration glued to tongues heavy with 'they said, they said’:
“Burn them. Drown them. Weigh them down in alabaster. Gems scream even through the densest of bruisetainted waters, over desert Temptation walks where drummers exist at a tortoise tempo. Places of crackling silt then no banging. No cattle skulls to break vision. More gravel and whispers until every drop can become something to write home about.”
-WL
*******
LARISSA LOCKSHIN (b.1992, Toronto) lives and works in Queens, NY. Lockshin has exhibited extensively in New York and Europe, including solo and two person shows at Vogt Gallery, NY, East Hampton Shed, NY and Albert Baronian, Brussels. Most recent group shows include Shoot the Lobster at Deauville, Miami Beach, Rumpus Room at Four AM, NY, Jerry Bruckheimer Films at Sensei Gallery, NY and Please Walk In
Between Not on the Green in Hallandale. Upcoming shows include the Armory Show and a solo presentation with Albert Baronian gallery for Art Brussels.
STEPHANIE HIER (b.1992, Toronto) received her BFA from the Ontario College of Art and Design in 2014 and has since been the recipient of numerous awards including the Evans Award for Fine Painting, B.I.G. Grant and the Ontario Arts Council Project Grant. Hier has exhibited across North America including both solo and group shows at NADA New York, Johannes Vogt Gallery in NYC, Ed Varie in NYC, Art Mur in Montreal, CK2 in Montreal, Carrier Arts Organization in Toronto, Art Gallery of Ontario in Toronto and the Hemispheres in Hallandale Beach. She currently lives and works in Toronto, Canada.
LINK
Stephanie Hier & Larissa Lockshin
February 20th – March 15th MMXVI
Three Four Three Four, Brooklyn
Opening Saturday, February 20th 6-10pm
Three Four Three Four is pleased to present "Bone Dry", a two person show by Stephanie Hier & Larissa Lockshin.
“Men are mere mortals who are not worth going to
your grave for.” -Shirley Bassey
I remember a tale of groundlings who shed faster than rumblings of a long night's flame kissing Eaaarth eternal, Eaaarth most holy. After every soul spoke of routine did an oxblood quickness overtake an enveloping greystricken horizon. Approaching awe twisted in rotating knots until each night became a candlestick longer, turn, turn, turn. Here come mineral and transfiguration glued to tongues heavy with 'they said, they said’:
“Burn them. Drown them. Weigh them down in alabaster. Gems scream even through the densest of bruisetainted waters, over desert Temptation walks where drummers exist at a tortoise tempo. Places of crackling silt then no banging. No cattle skulls to break vision. More gravel and whispers until every drop can become something to write home about.”
-WL
*******
LARISSA LOCKSHIN (b.1992, Toronto) lives and works in Queens, NY. Lockshin has exhibited extensively in New York and Europe, including solo and two person shows at Vogt Gallery, NY, East Hampton Shed, NY and Albert Baronian, Brussels. Most recent group shows include Shoot the Lobster at Deauville, Miami Beach, Rumpus Room at Four AM, NY, Jerry Bruckheimer Films at Sensei Gallery, NY and Please Walk In
Between Not on the Green in Hallandale. Upcoming shows include the Armory Show and a solo presentation with Albert Baronian gallery for Art Brussels.
STEPHANIE HIER (b.1992, Toronto) received her BFA from the Ontario College of Art and Design in 2014 and has since been the recipient of numerous awards including the Evans Award for Fine Painting, B.I.G. Grant and the Ontario Arts Council Project Grant. Hier has exhibited across North America including both solo and group shows at NADA New York, Johannes Vogt Gallery in NYC, Ed Varie in NYC, Art Mur in Montreal, CK2 in Montreal, Carrier Arts Organization in Toronto, Art Gallery of Ontario in Toronto and the Hemispheres in Hallandale Beach. She currently lives and works in Toronto, Canada.
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Zadir Nelson
[Zadir Nelson’s painting for the cover of this week’s issue celebrates the Schomburg Research Center, in Harlem. He says he wanted to create “a stylistic montage as an homage to the great Harlem Renaissance painters: Aaron Douglas, William H. Johnson, Norman Lewis, Jacob Lawrence, Elizabeth Catlett, Archibald Motley, and Palmer Hayden.” Also on Nelson’s mind were artists and performers like the Nicholas Brothers, Billie Holiday, and Duke Ellington; the activist Malcom X; and writers such as James Baldwin and Zora Neale Hurston.]
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Sunday, February 14, 2016
'Unilateral Educational Disarmament' Ajay Kurian @ JOAN [LOS ANGELES/USA]
JOAN presents Ajay Kurian’s Unilateral Educational Disarmament, a site-specific installation of recent sculptures. Kurian makes visually seductive works that belie complicated, layered content––from references to Goethe’s Faust to contemporary social concerns.
At the entrance of JOAN’s gallery, Comfort Zone #5 (Mind the Gap, Praise the Curve) 2016, a wall-based vitrine that houses a forest of plexiglass rods, fluorescent resin cast bells, plastic gingerbread men and a tangle of copper wires is bathed in a green fluorescent light. For Kurian, the glowing bells come from thinking about bell curves used in educational and evolutionary models – the mathematical beginnings of normativity. Enshrined in glass, the work is reminiscent of Mike Kelley’s Kandors series of glowing resin cityscapes inspired by comic imagery of Superman’s home planet. Kurian’s work, however, pulls not from impossible returns, but from breaks, gaps, and societal ruptures along the lines of race, class, and ecology. The next room resembles an otherworldly school gym. Metal frame figures clad in baggy shorts and custom t-shirts congregate around climbing ropes hanging from the ceiling. Alternating between surreal and callous violence, Kurian’s children channel troubling narratives into psychological and physiological performance – acting out a spectrum of aggressions, both inherited and newly created. Harnessing satire, irony and the visual appeal of science fiction, Kurian’s works here balance on a knife’s edge of visually alluring and conceptually alarming.
Unilateral Educational Disarmament by Ajay Kurian
If an unfriendly foreign power had attempted to impose on America the mediocre educational performance that exists today, we might have viewed it as an act of war. As it stands, we have allowed this to happen to ourselves. We have ever squandered the gains in student achievement made in the wake of the Sputnik challenge. Moreover, we have dismantled essential support systems which helped make those gains possible. We have, in effect, been committing an act of unthinking, unilateral, educational disarmament.
–A Nation at Risk, by T.H. Bell, Secretary of Education (1983)
The atmosphere of kill or be killed isn’t lost on children. School is a training ground and as parents insist on “boys being boys,” we can rest assured that American toxicity will persist. Our students, the psychological descendants of frontiersmen, follow a two-faced mantra built on a strange egotistical “freedom”: Let’s grab it! followed by It’s ours! You can’t have it! Conquering and defending even the most petty territories. If you’re rich and white, this sense of entitlement is an asset—you have to learn early how to protect your stuff. If you’re not, expect to fight harder to claim what’s yours. Lie, cheat, and steal if you have to because colonialism is a handicap, reparations are a myth, and poverty is a thicker poison. “Mindful” parents raise distracted children. Inoculations are a sickness. And power has become schizo—both dominant and fragile. As our kids struggle to figure out how they fit in, trying to climb to the top of an unnamed peak, we win at games and blood is lost.
T.H. Bell saved his job by penning A Nation at Risk, an inflammatory screed whose mismatched intellectual constellations would misdirect our educational philosophy and cripple the American student. The constant equalization of quantified, abstracted federal benchmarks and academic success congealed into the oft-maligned policy named “No Child Left Behind.” With such a system in place, we are slowly burning ourselves, like moths to a flame, believing that all forms of brightness are both attractive and good, without any sensitivity or comprehension of the differences between knowledge and academics, between choice and systems, between racial and historical differences and “progressive” colorblindness. The new plan, “Every Student Succeeds,” has some optimistic, but neither the plan nor the very name itself suggest that this will be very different. Say the bill’s name out loud and you’ll hear it not as just a name but a glib, abstract mandate that every student, indeed, succeeds. The trouble is, for that to be true, every parent, too, must succeed.
Don’t mistake me. This is not a policy paper or pamphlet. It isn’t an explanation, nor is it a key. It’s temperature, humidity, smell, flavor, and visibility. This exhibition runs around this text, exploring its edges, performing, screaming, climbing, looking, failing, crying, pulling, thinking, meditating, and laughing.
LINK
At the entrance of JOAN’s gallery, Comfort Zone #5 (Mind the Gap, Praise the Curve) 2016, a wall-based vitrine that houses a forest of plexiglass rods, fluorescent resin cast bells, plastic gingerbread men and a tangle of copper wires is bathed in a green fluorescent light. For Kurian, the glowing bells come from thinking about bell curves used in educational and evolutionary models – the mathematical beginnings of normativity. Enshrined in glass, the work is reminiscent of Mike Kelley’s Kandors series of glowing resin cityscapes inspired by comic imagery of Superman’s home planet. Kurian’s work, however, pulls not from impossible returns, but from breaks, gaps, and societal ruptures along the lines of race, class, and ecology. The next room resembles an otherworldly school gym. Metal frame figures clad in baggy shorts and custom t-shirts congregate around climbing ropes hanging from the ceiling. Alternating between surreal and callous violence, Kurian’s children channel troubling narratives into psychological and physiological performance – acting out a spectrum of aggressions, both inherited and newly created. Harnessing satire, irony and the visual appeal of science fiction, Kurian’s works here balance on a knife’s edge of visually alluring and conceptually alarming.
Unilateral Educational Disarmament by Ajay Kurian
If an unfriendly foreign power had attempted to impose on America the mediocre educational performance that exists today, we might have viewed it as an act of war. As it stands, we have allowed this to happen to ourselves. We have ever squandered the gains in student achievement made in the wake of the Sputnik challenge. Moreover, we have dismantled essential support systems which helped make those gains possible. We have, in effect, been committing an act of unthinking, unilateral, educational disarmament.
–A Nation at Risk, by T.H. Bell, Secretary of Education (1983)
The atmosphere of kill or be killed isn’t lost on children. School is a training ground and as parents insist on “boys being boys,” we can rest assured that American toxicity will persist. Our students, the psychological descendants of frontiersmen, follow a two-faced mantra built on a strange egotistical “freedom”: Let’s grab it! followed by It’s ours! You can’t have it! Conquering and defending even the most petty territories. If you’re rich and white, this sense of entitlement is an asset—you have to learn early how to protect your stuff. If you’re not, expect to fight harder to claim what’s yours. Lie, cheat, and steal if you have to because colonialism is a handicap, reparations are a myth, and poverty is a thicker poison. “Mindful” parents raise distracted children. Inoculations are a sickness. And power has become schizo—both dominant and fragile. As our kids struggle to figure out how they fit in, trying to climb to the top of an unnamed peak, we win at games and blood is lost.
T.H. Bell saved his job by penning A Nation at Risk, an inflammatory screed whose mismatched intellectual constellations would misdirect our educational philosophy and cripple the American student. The constant equalization of quantified, abstracted federal benchmarks and academic success congealed into the oft-maligned policy named “No Child Left Behind.” With such a system in place, we are slowly burning ourselves, like moths to a flame, believing that all forms of brightness are both attractive and good, without any sensitivity or comprehension of the differences between knowledge and academics, between choice and systems, between racial and historical differences and “progressive” colorblindness. The new plan, “Every Student Succeeds,” has some optimistic, but neither the plan nor the very name itself suggest that this will be very different. Say the bill’s name out loud and you’ll hear it not as just a name but a glib, abstract mandate that every student, indeed, succeeds. The trouble is, for that to be true, every parent, too, must succeed.
Don’t mistake me. This is not a policy paper or pamphlet. It isn’t an explanation, nor is it a key. It’s temperature, humidity, smell, flavor, and visibility. This exhibition runs around this text, exploring its edges, performing, screaming, climbing, looking, failing, crying, pulling, thinking, meditating, and laughing.
LINK
'List of Consonants', Manuel Arturo Abreu
[List of Consonants is a list of consonants with intervening vowels. The book is an ambient novella that explores what Wilson Harris calls "community-in-creator" by merging from-scratch text with found text and asking "what exactly is the difference?" By treating their own from-scratch text as though a stranger had written it, abreu shows how little we know ourselves, and performs an authorial petite mort in honor of their friend, who died by suicide in 2013.]
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The Healing Is in the Art [ARTICLE]
An interview with digital artist Tabita Rezaire
As part of our Afrofuturism month, we’re featuring interviews with makers, artists, and thinkers from around the world. Afrofuturism is not just an aesthetic — it’s just as much a framework for activism and imagining new technologies. We’re interested in how the movement can make a practical difference in the lives of those from whom the thought culture draws.
As part of our Afrofuturism month, we’re featuring interviews with makers, artists, and thinkers from around the world. Afrofuturism is not just an aesthetic — it’s just as much a framework for activism and imagining new technologies. We’re interested in how the movement can make a practical difference in the lives of those from whom the thought culture draws.
READ MORE HERE
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