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Review: Artscene

November 1, 2016 - Jody Zellen

Jeffrey Vallance has attained something akin to cult status. His work covers a wide range of media and is based on consumer and popular culture, and is ironically critical without being didactic. Vallance never makes fun of his subjects, but rather uses what is around him--be it a store bought chicken, the work of Thomas Kinkade or President Richard Nixon-- to explore how context can shape meaning. 

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Critics Picks: Art Ltd.

November 1, 2016 - Molly Enholm

A confluence of odd bedfellows is the hallmark of Jeffrey Vallance's irreverent approach to art-making, use of materials, his amalgamations of popular culture, religion, tradition, the election, and the whole lot of it. Recently, Vallance has ventured down two divergent paths: the first, a series of works on paper collectively titled Rudis Tractus; the other veering into the realm of social media, which critic Doug Harvey describes in the show's catalogue as a means "to prod and probe the new social boundaries and mechanisms generated by the new technology." 

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Review: Artforum

November 1, 2016 - Bruce Hainley

On July 28, 2016, Richard Prince retweeted an item from curator Marvin Heiferman's feed about a $1 billion copyright-infringement suit that photographer Carol Highsmith had just filed against the stock-photo agencies Getty and Alamy, charging "gross misuse." Earlier that day, Prince had tweeted a picture of a slightly enlarged black-and-white photocopy of this short 1977 text "Practicing Without a License." He commented: "Feel like I got hacked. Or waxed. Or whacked. Micki'd. Surprised they didn't have my underwear on display. Shame." 

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Review: Artscene

October 1, 2016 - Genie Davis

Jun Kaneko’s Mirage appears to be just that, images so impossible and arresting that we stop to take it all in. One of the most visually pleasurable and immersive exhibitions I’ve seen recently, Kaneko’s large-scale works are astonishing in their complexity. 

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Rule Breakers

September 22, 2016 - Rosa Bertoli

As the London Design Festival broadens its scope to become a major public event, it is also expanding its physical presence in the city, giving historical spaces a new lease of life through exhibitions and installations. This year's main event includes a residency over ten rooms of Somerset House's West Wing, with ten international designers given carte blanche to get creative with their spaces.

Featured projects will include installations with a technological bent, such as the work of German director Tino Schaedler and architecture studio United Realities, exploring the links between the physical and the digital, and Jasper Morrison's designs for Punkt (as seen in W*195), which feature in an exhibition focusing on our relationship with technology. There will be more purely aesthetic exercises, such as Arik Levy and Tabanliogu Architects' installation exploring the theme of transparency; practical displays, including Paperless Post and Patternity's series of digital invitations; and two reading rooms, one by Edward Barber and Jay Osgerby in collaboration with Knoll, and another by London designer Faye Toogood, whose project recreates a derelict country house.

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Manny Krakowski at Monte Vista Projects

September 2, 2016 - Aaron Horst

A looped glass pipe rises out and returns through the top of a freezer in Manny Krakowski’s A Simple Chemistry Experiment Explained as a Monument, currently on view at Monte Vista Projects. Shorn of insulation at its turning point, the pipe reveals a steady flow of cooled (salt) water, its outer condensation dripping onto a piece of synthetic marble below.

The quotidian object in art easily tempts cynicism. To his credit, Krakowski demonstrates that it might still provoke thought—or at least curiosity, for those of us plunged into ponderance by the hum of a compressor. Krakowski’s appliance is transformed, in a manner both subtle and extreme: its innards foregrounded, its intended function left in the dust. Less clear is its relation to the surrounding, accessorized tableau, comprising two immaculate blown-glass orbs, real and synthetic marble, a steel armature smeared in a patina-ing sunscreen (Coppertone?), and overextended aspirations into the digital realm via a materials list reference to “virtual space,” which directs to a vague, appreciably scenic webpage. 

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Feature: New York Times Style Magazine

August 4, 2016 - Laura Neilson

"For Alex Schweder and Ward Shelley, the term “artist in residence” is often a very literal one: Collaborators since 2007, the pair practice what Schweder describes as “performance architecture,” or the exploration of how inhabiting a space affects us, psychologically. So they build interesting structures, and then move in."

Star Attraction: The Wallpaper* Arcade, by Jean Nouvel Design, Neal Feay Company and Sapa

July 29, 2016 - Amy Serafin

Checking into Hotel Wallpaper*, this year’s Handmade exhibition at the Salone del Mobile in Milan, proved to be an awe-inspiring experience: a passageway lined with enormous aluminium shapes, bathed in coloured light. The installation was a collaborative effort between a top aluminium supplier, a leader in creative aluminium treatment, and one of the world’s greatest architects.

The Wallpaper* event occupied an arcade in via San Gregorio, for the second year. ‘A humble location,’ says Alex Rasmussen, president of the Santa Barbara-based aluminium fabricator Neal Feay Company, describing it as a ‘crummy, post-war Italian condominium complex’ with ‘oddball storefronts’ and dog-walking residents passing through on their way to the lifts.

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Review: The Daily Beast

July 15, 2016 - Blake Gopnik

"These two iPhones are all there is to “The Distance of a Day”, an installation by the young Brooklyner David Horvitz that I just saw at the Art Basel fair, in the booth of Berlin’s Chert gallery. Last February, Horvitz got his mom to record a video of the sunset over the sea near Los Angeles, where he was born and grew up. At the same moment that she was taping, he was at a point almost opposite her on the globe, in the Maldives, taping the same sun as it rose."

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Feature: The Huffington Post

July 15, 2016 - Sarah DiGiulio

"We track a lot of data about ourselves. Steps walked, stairs climbed, heart rate and, if you wear an Apple watch, skin temperature.

People don’t know what to do with it, artist Laurie Frick told The Huffington Post. Some people get creeped out by all the data. Some people find it uncomfortable. Yet, according to Frick, 'it’s the secret about who we are.'

'I think in the future we’re going to consume our data as art,' she said. 'I think it’s going to be irresistible.'"

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