Art Seen: National

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SARAH HOBBS // PSYCHOLOGICAL TRACES

by Brian Prugh The photographs included in Sarah Hobbs’ Psychological Traces, currently on view at the Indianapolis Museum of Contemporary Art, depict interior spaces that tell a psychological story. The conceit of these photographs is to give insight into the psychology of a room’s decorator (and implied occupier), who, though absent, has left some significant[…]

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PIPILOTTI RIST // NEW MUSEUM

Digital Delirium By Vanessa Gravenor Pipilotti Rist’s work is known for her characteristic hallmarks of fusion between digital and cinematic space, between architecture and the body. Most of her work can be characterized by an aesthetic that weaves into feminism, body politics, and sexuality. This aesthetic is comprised of stretched out slow cam underwater shots[…]

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COMPLICATED BEAUTY // CONTEMPORARY CUBAN ART

by Brian Prugh Yoan Capote is quoted in the wall text by his painting as saying, “The sea, for me and for a lot of Cubans, was like a wall, more an image of isolation than a beautiful place. I grew up with a frustration about the limitation and an obsession about crossing the sea.”[…]

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ISA GENZKEN // I LOVE MICHAEL ASHER

By Brandon Sward While I Love Michael Asher at Hauser Wirth & Schimmel is Isa Genzken’s first solo exhibition in California, it is not the artist’s first interaction with the state. By her late 20s, Genzken was teaching at the Kunstakademie Düsseldorf, which provided her with a travel grant she used to meet Michael Asher,[…]

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MOHAU MODISAKENG // LAUMEIER SCULPTURE PARK

by Brian Prugh Mohau Modisakeng, recently selected for the South African Pavilion at the 2017 Venice Biennale along with Candice Breitz, has a video and six large scale photographs in his first solo exhibition in the United States at Laumeier Sculpture Park in St. Louis. While all self-portraits, the works are multilayered, with different aspects[…]

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RAUMLABORBERLIN // PULITZER ARTS FOUNDATION

by Brian Prugh Situating raumlaborberlin’s 4562 Enright Avenue is best begun literally: the Pulitzer Arts Foundation is two blocks south of Delmar Avenue and the house at 4562 Enright lies two blocks north of it. Delmar itself has come to be seen as a line dividing the city by race and socioeconomic status. An attempt[…]

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DARA BIRNBAUM // ST. LOUIS ART MUSEUM

by Brian Prugh We’re a long way technologically from the genesis of Dara Birnbaum’s Technology/Transformation: Wonder Woman and Kiss the Girls, two works created in the late seventies and currently showing at the St. Louis Art Museum as part of its New Media Series, curated by Hannah Klemm. Both works were innovative for their use[…]

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NAN GOLDIN // THE BALLAD OF SEXUAL DEPENDENCY

by Joel Kuennen click to download PDF Dirty Work There’s one thing you must finally realize no matter how you try to twist and turn it first comes the grub and then you can moralize there must first be a chance for now all poorly fed to get their slice of life’s great loaf of[…]

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SOLUTION, PROBLEM, PROBLEM, SOLUTION: ON THE ART OF LUIS CAMNITZER

by Ionit Behar click here to download PDF German-born Uruguayan artist and writer Luis Camnitzer moved to New York in 1964. He was at the vanguard of 1960s Conceptualism, working primarily in printmaking, sculpture, and installation. Camnitzer developed a body of work that explored language with both humor and politically charged strategies, and has been[…]

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CARLOS ROLÓN // MUSEUM OF CONTEMPORARY ART DETRIOT

by Sarah Rose Sharp In some respects, the Mike Kelley Mobile Homestead (2010), permanently located at the Museum of Contemporary Art Detroit, is the perfect staging context for Carlos Rolón’s, known by the moniker Dzine, Vintage Voyages and Atomic Memories (2016). A site-specific reprisal of a theme that Rolón has worked on in previous installations, here, the artist’s[…]

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INVISIBLE WOMEN: IN CONVERSATION WITH SHEIDA SOLEIMANI

By Sarah Sharp Orchestrated by guest curator Samantha ‘Banks’ Schefman of Playground Detroit, Doubly So at Center Galleries on the College for Creative Studies campus is a four-person show of new work. Featuring four artists—Amalia Soto (aka “Molly Soda”), Sheida Soleimani, Sofia Szamosi, Dessislava Terzieva—the work on view in the exhibition shares the common trait of young female artists deeply[…]

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YESOMI UMOLU // PROFILE OF THE CURATOR

By Gan Uyeda download printable PDF Yesomi Umolu is a Lagos-born, London-raised, Chicago-based curator with a mind for the global. Before holding curatorial positions at the Walker Art Center, the Eli and Edythe Broad Art Museum at Michigan State University, and the Logan Center for the Arts at the University of Chicago, Umolu studied architecture[…]

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PLURAL POP // TATE MODERN, WALKER ART CENTER, MCA CHICAGO

By Stephanie Cristello download printable pdf You know the cover by heart. The colors of their suits unfold from left to right in the only way they could; bright yellow, piercing pink, neon blue, to tangerine crimson—a picture perfect display of regalia, their names spelled out in flowers. The surrounding crowd, collaged and tightly pressed[…]

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KERRY JAMES MARSHALL // PROFILE OF THE ARTIST

By Caroline Picard download printable pdf “We are not, as we sometimes like to imagine, independent thinkers with our own unique & groovy style of cognition: we have in fact inherited a narrow repertoire of prefab concepts, and we find ourselves thinking as thinking things on highly ramified architectonics of ideas, and along deeply grooved paths of[…]

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FADE IN: INT. ART GALLERY – DAY

By Tara Plath download printable pdf Gestures of Reference Depictions of art and artists in film and television are almost never flattering, and can often border on making a mockery of the troubled artist, the suave collector, the prim gallerist, the unknowable abstract painting, or romanticized portraiture. But then what to make of the mimicry[…]

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THE INTERVIEW: RED, RED, FUTURE

By Ruslana Lichtzier download printable PDF A Missed Call Since the 1910 Thomas Edison movie “A Trip To Mars,” Orson Wells’ radio-drama “The War of the Worlds,” in 1938, to Ridley Scott’s 2015 film “The Martian,” modern culture has manifested a preoccupation with the planet Mars. THE INTERVIEW: RED, RED FUTURE, a solo exhibition at[…]

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LAURA POITRAS: ASTRO NOISE // WHITNEY MUSEUM OF AMERICAN ART

By Joel Kuennen download printable PDF Freedom Lost. Freedom Transformed. I am fighting, but they’ve gotten inside so that I don’t know if anyplace is private. If anyplace is safe. I’m trying to keep this new flat off the radar, so no phone, no connecting to the Internet without Tor. I’ve created my own isolation,[…]

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MARCEL BROODTHAERS: A RETROSPECTIVE // MOMA

By Anastasia Karpova Tinari download printable pdf At the 1958 Brussels World’s Fair, a mock Congolese village complete with performing Africans was installed, intending to provide Belgians a glimpse of their colony, a backward ethnographic presentation described today as a “Human Zoo.” This phenomenon came from a long tradition of installations at World’s Fairs, inaugurated[…]

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WALID RAAD // MoMA

by Tara Plath This text is (here and there) a work of fiction. Names, characters, places, and incidents either are products of the author’s imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. This small print follows the text of Lebanese artist Walid Raad’s[…]

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MUSEUM OF ARTS & DESIGN // INTERVIEW WITH SHANNON STRATTON

In Conversation with Tara Plath Shannon Stratton is the William and Mildred Lasdon Chief Curator at the Museum of Arts and Design (MAD) in New York.  Prior to her posting, Stratton was the Executive Director for Threewalls, a non-profit organization in Chicago, where she still sits on the Executive Board (see: Jeffreen M. Hayes appointed at[…]

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CHRISTOPHER KNOWLES: IN A WORD // INSTITUTE OF CONTEMPORARY ART PHILADELPHIA

by Joshua Demaree “All these are the days my friends and these are the days my friends.. It could get some wind for the sailboat. And it could get for it is. It could get the railroad for these workers. It could get for it is were. It could be a balloon. It could be[…]

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THE HAIRY WHO // REFRAMING REBELLION

by Kate Pollasch download printable PDF from Issue 01 My thoughts begin in the bathroom. Not in the bathrooms that house stalls with their juvenile jokes, love notes, and graffiti scrawled on their walls, but in Roger Brown’s second floor bathroom, now preserved as a house museum, at the Roger Brown Study Collection. Walk up[…]

THE SEEN Issue 01

Announcing Issue 01: This September

  We’re going to print. After 21 successful online monthly issues, THE SEEN is launching Issue 01 in print this September. The full-color, oversize journal will be produced as a limited-edition 5,000 count run. With Staff Writers reporting from around the world, each issue of THE SEEN features in-depth writing on contemporary art, as well as[…]

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KAHLIL JOSEPH: DOUBLE CONSCIENCE // MOCA LOS ANGELES

by Natalie Hegert Nothing could have prepared me for how beautiful it was. Kahlil Joseph’s m.A.A.d. is cyclical, looping through climax and denouement like a smooth ride through day and night, light and dark, positive and negative, life and death. With a split screen video installed in an open V in the corner of the[…]