S, M, L, XL is the title of a book of projects by Rem Koolhaas’s architectural firm OMA, ranging from the small, to extra-large. It is also the title of a current show at the Museum of Contemporary Art Chicago, featuring work on a similar range of scale, all united by the theme of making “sculpture more accessible.” The four works of the show have a similar challenge facing them to that of architecture. These works must tackle the task of moving humans through space against their will, while allowing the humans to feel as if their will is not being violated, and in fact, their motions are of their own volition. Continue reading
Przemek Pyszczek’s painted metal sculptures are open, expansive and candy-coloured. Yet they represent urban dead-ends. Pyszczek, a Polish-Canadian sculptor living in Berlin, replicates graphic decorations on Plattenbauen pre-fab architecture and jungle-gyms dotting housing projects in Poland. For his 2014 series Facades, he trapped paintings of cheerful coloured forms behind curved security bars. In his current Playground Structure series, currently on view at Berlin’s Peres Projects gallery alongside Donna Huanca’s paintings, networks of metal pipes invite escapist to play but promise danger. Here Pyszczek discusses the socio-political and personal context for his compellingly contradictory sculptures. Continue reading
Why do I need a business plan?
The main and best reason to develop a business plan is so that you have a blueprint to run and grow your business. Imagine trying to build a house without plan. If you are starting a new art business, a plan will help you organize your thoughts and help you tackle the challenges faced by startup businesses. If your art business is established a plan will help you in building a great team and allow you to focus on your most pressing problems, opportunities and initiatives. Continue reading
Austin is well known as a DIY city – from unique patio bars to charming boutiques full of Austin-made goods, the scene is small, crafted, and in many cases inimitable. The 2014-15 Austin Critics’ Table awards are exemplary of these traits in many ways, the first being the very nature of the awards. Given by an informal group of arts writers from the Austin Chronicle and the Austin-American Statesman, the awards are meant to applaud and encourage exceptional accomplishment in a broad variety of arts disciplines. The list of critics and writers who chose this year’s awards is a veritable blue book of the most active arts writers in central Texas: Cate Blouke, Claire Canavan, Jeanne Claire van Ryzin, Elizabeth Cobbe, Robert Faires, Caitlin Greenwood, Luke Quinton, Adam Roberts, Claire Spera, Seth Orion Schwaiger, and Jonelle Seitz. Continue reading
A couple of pictures showed up on a Facebook page in late June. Images of the human body. Or parts of them, anyway: a torso and arm of a male figure in one, an indeterminate hand (left) in the other. While they were au naturel, they were also, paradoxically, clothed – in a way. With powdered sugar, to be exact. And not just randomly dusted with the stuff; there was pattern evident in the application.
Lace. The complex patterns and utterances of lace. Continue reading
Documents leaked by NSA whistleblower Edward Snowden in 2013 revealed that America’s “black budget” (money allocated for classified surveillance programs) was just under $53 billion. The money financed 16 spying agencies which employed 107,035 people. [i] Trevor Paglen, a writer, photographer, and multimedia artist with a PhD in geography, creates art that addresses America’s clandestine security agencies, the “black world.” Through September 27, East Lansing’s Broad Art Museum is featuring his art in the third and final installment of its Genre series in an exhibition loosely arranged on the theme of the landscape. Continue reading
At its base, ‘The Weight of Data’ is an exercise in negotiating and consolidating the distance between the changeable virtual landscapes of the digital age, and the less elastic physical landscapes of the present moment. Featuring four artists, and curated by Lizzie Carey-Thomas, the works on display here touch on the emotional and psychological distance between the digital and the physical, as well as the way narrative arcs can cross and weave through both. There is a common thread throughout the show where these two worlds are often presented as being unequivocally fractured, even when intersecting at multiple points. Continue reading