La artista argentina Sol Pipkin, con 34 años, despliega una interesante trayectoria. Luego de distanciarse del diseño gráfico se formó de manera autodidacta y en diferentes talleres de artistas y teóricos como Diego Bianchi, Eduardo Navarro, Mónica Girón, Santiago García Navarro, Carlos Huffmann, Pablo Siquier, Ernesto Ballesteros y Karina Peisajovich. También fue becaria del Programa de artistas 2010 de la Universidad Torcuato Di Tella. Su obra fue exhibida en museos y espacios culturales tales como el Museo Nacional de Bellas Artes, Museo de Arte Contemporáneo de Rosario, Centro Cultural de España en Buenos Aires, Centro Cultural Borges, Museo de la Lengua y Centro Cultural Recoleta; en 2014 expuso su trabajo Piltriquitrón Inside en el Museo de Arte Moderno de Buenos Aires. En 2011 fue seleccionada para los Premios Andreani y Curriculum 0 y en 2012 para el Premio Lucio Fontana del Consulado de Italia. Continue reading
I would suggest that there are two primary paths through clay and toward the sculptural: one through (or into) the vessel, and the other not so much.
Okay, that’s not so profound a statement, but really it does rather boil down to this kind of polarity. Either you embrace the fact that clay has pretty much always been about the vessel form and all of its utilitarian associations (and I am here ignoring the fact that clay was actually once the primary means of written communication, but never mind) and work your way through that field towards its sculptural ends; or you pretty much bypass it completely. Do an end run, so to speak. The powerfully abstract sculptural work of an artist like Peter Voulkos might strongly suggest that he took the latter course, but he was no stranger to the pot. Continue reading
A wave of objects inhabited the gallery in Portia Munson’s Flood, at the Disjecta Contemporary Arts Center. Mostly plastic, some metal, others paper, and yet still others, constructed from material that is harder to parse. But all of them, blue. They were blue things. In their unevenness, their jumbled edges, stacked and piled together, in their mass and totality, they were blue. Continue reading
The 2018 SPRING/BREAK Art Show celebrated its seventh anniversary on two abandoned floors of a corporate high-rise in Times Square. Catalogued as one of the most experimental art fairs in New York, the S/BAS aims to exhibit artwork, with a low-cost entry, through underutilized New York City spaces that are uncommon to the traditional cultural landscape the art market has set as a rigid example. Both founders, Andrew Gori and Ambre Kelly—with a creative superstaff that has organized, curated, facilitated and produced events inside the “Big Apple”—provide an internationally recognized art platform that delivers established and emergent artwork from around the world, customarily but not exclusively during the Armory Show, Volta NY, Independent and NADA. Continue reading
A U.S. district court in San Francisco turned back a challenge from a bay area Building Industry Association to Oakland’s recently enacted amendment to its Percent-for-Art statute that requires large-scale real estate developments in the city include publicly accessible works of art or pay a fee to the municipal arts agency. The February 5th ruling by Judge Vince Chhabria accepted a motion by Oakland City Attorney Barbara Parker to dismiss the association’s lawsuit to stop the implementation of the city’s 2015 requirement that developers of both commercial and residential properties include artwork on their sites. Continue reading
A homage to Danish artist Danh Vo (b. 1975, Bà Rịa, Vietnam) and a rendering of Take My Breath Away (Solomon R. Guggenheim Museum, New York, February 9—May 9, 2018) Continue reading
My third and final month at Mana has seen my productivity wane as I prepared for a one week exhibition with another resident in the building and friend, Sam Pullin. I had to shift gears from churning out pieces to finishing some half-baked ideas for the work planned for the exhibition titled American Dark Age, curated by Allison Hall. Wanting to build on the things I did the last time exhibiting in Jersey City, I have opted for another participatory installation titled, Make America Grieve Again. I see this piece as a way to talk about violence in our world without it becoming confrontational or partisan, both of which seem nearly impossible in the current climate. Audience members are invited to use bullet shaped chalks to write on the walls of the gallery space. Some took it seriously and vented their frustrations after yet another school shooting. Others were more irreverent, drawing lewd cartoons or making silly jokes. Both are fine, it was their work, not mine, and I am not the arbiter of how my art is approached once it is out of the studio. Continue reading