Art Seen: National

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SCOTT REEDER // MOON DUST

by Amber Renaye Interdisciplinary is in. If you’re involved in the art world and someone asks what you do, they are expecting a list, not a title. Scott Reeder has more lists than anyone – some of his lists have advanced into paintings while hundreds, probably thousands more, fill pages of private notebooks, binders, and[…]

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UNITED STATES ARTISTS // MOVING TO CHICAGO

THE SEEN Staff This morning at the Chicago Cultural Center, a number of members of the press collected for the announcement of United States Artists’ move from LA to Chicago, naming Carolina Garcia Jayaram, formerly of the Chicago Artists Coalition (CAC) the new CEO of the foundation back in January. Special Events Commissioner Michelle T.[…]

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ALIEN SHE // VOX POPULI

by Joshua Michael Demaree The first line of Bikini’s Kill’s Wikipedia page reads: “Bikini Kill was an American punk rock band formed in Olympia, Washington in October 1990.”  It is written in the past tense as if to say: this band was and now it is not.  The sentence is short and sweet, just like[…]

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DAVID HARTT // THE REPUBLIC

by Stephanie Cristello Casual Violence A car thrown onto its side. When we visualize this image, we imagine a symbol of revolt. It is an attack on orientation, on forward movement, on progress – but it is also an image inescapably attached to the political domain, to capital and to the state, though the car[…]

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ETERNAL HINDSIGHT // NEW MUSEUM

by Tara Plath Currently on display on the fifth floor of the New Museum are a pair of time-bending exhibitions—iterations of past and future that ultimately meet in the middle: the present moment, perhaps even a statement of art today. The first is an empirical study in the New Museum’s Resource Center; Occupied Territory: A[…]

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MIRROR STAGE // AN INTERVIEW WITH CONOR BACKMAN

by Stephanie Cristello – Originally published on New American Paintings – We trace history in a similar way we trace source. The significance of certain symbols have a sense of time to them, which is neither part of the object, nor a prescription onto the object – but an affect of belonging, in a condensed[…]

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THE FIVE SENSES // SMoCA

by Sarah Hamilton For a very long time, I have advocated for art, and art experiences, that engaged numerous senses – not just the primary one and a half that the term “visual art” aims for. There are plenty of artists out there that do engage numerous senses, striving to create an environment, not just[…]

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RUFFNECK CONSTRUCTIVISTS // ICA PHILADELPHIA

by Joshua Michael Demaree Known for her famed silhouette tableaux that hang in museums around the world, Kara Walker is an artist and professor that has yet to complete that all-important art world trifecta of multitasking.  That is, until now.  From February 12 until August 16, Walker’s first curated show, Ruffneck Constructivists, is on view[…]

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EXPO CHICAGO GUIDE // WHITNEY BIENNIAL WEEK

by THE SEEN Staff Next week, the Whitney Biennial will open, the Armory Show will be in full swing, and numerous exhibitions and events will be on view in New York City. Below is our guide – stay tuned for our coverage next week, where we will be reporting live and reviewing select exhibitions on[…]

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CRANBROOK ART MUSEUM // DRAWING AS THINKING AND PROCESS

By Alexandra Kadlec Drawing is often perceived as the beginning of an expression, as well as the culmination of a concept, a message, and a story. It may also be the precursor to, the draft of, a finished product; we imagine the artist that first sketches the scene that will become the painting. In the[…]

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PROFILE OF THE ARTIST // HANK WILLIS THOMAS

by Hiba Ali At its core, the work of Hank Willis Thomas asks his viewers to observe how mass media constructs the myth of race and identity. In his multi-venue exhibition, currently on view Cleveland, Ohio, is his entire early major series, the 82-part photographs within Unbranded: Reflections in Black Corporate America, 1968–2008, on display[…]

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LIFELIKE // PHOENIX ART MUSEUM

by Sarah Hamilton Deceptive and delicate, Lifelike keeps visitors on their toes. Currently on view at the Phoenix Art Museum, it is the kind of exhibition that, at first glance, might cause you to blow it off. “Andy Warhol’s brillo boxes? Again?” But much like the work it features, Lifelike deceives expectations.  The show features[…]

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Angelina Gualdoni // Asya Geisberg Gallery

by Nadiah Fellah Angelina Gualdoni’s paintings are works that reward a close look. The fragmented scenes captured on her canvases are at once formally complex and materially simple, depicting images that verge on the figurative, while fading into abstraction in certain passages. Gualdoni says of her current work: “I [want] to make the physicality of[…]

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Assorted Abstraction, In Three Parts

by Tara Plath The exhibition currently on view at Thierry Goldberg is repetitive, but not redundant. On view through February 2, it features two artists in three parts; each installation exists as a chapter of the untitled series of paintings by John Bianchi and Jeffrey Kessel. Facing out of the gallery and onto the street[…]

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A PSYCHIC SLIDE THROUGH TIME // GRAND ARTS

by Sarah Hamilton An Interview with Lacey Wozny and Danny Orendorff on the Charlotte Street Visual Artist Awards Exhibition To those who know it, Kansas City has a vibrant visual arts community, shored up by institutions like the Kansas City Art Institute, Grand Arts, and the Nerman Museum of Contemporary Art. The current exhibition of[…]

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LIONEL MAUNZ // BUREAU

by Tara Plath In stark contrast to white walls and light patchwork floorboards, the sculptures of Lionel Maunz shade the space of Bureau in New York. The methodically placed cast iron and concrete sculptures stand and lay around the gallery, feeling neither cluttered nor sparse. For his third solo exhibition with the gallery, Lionel Maunz[…]

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WORDWEARY // BAS FISHER INVITATIONAL

by Dana Bassett I found out about Tao Rey’s Instagram account the same way I find out about most cool art stuff – Domingo Castillo told me. This bit of Miami art news was initially striking because at the time (and probably still), Domingo didn’t even have a smartphone capable of viewing Instagram. Compounding my surprise[…]

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PROFILE OF THE ARTIST // MATT LIPPS

by Andrew Zizik and Blaise Danio At first glance, Matt Lipps is a photographer. Though, if you take a closer look into his exhibit Library at Marc Selwyn Fine Art in Los Angeles, you’ll see he is as much a prop stylist and set designer. His technique involves a multi-dimensional process, from collaging and posing, to lighting and[…]

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ISA GENZKEN: RETROSPECTIVE // MoMA

by Nadiah Fellah  Seen side-by-side, one would hardly guess that the colorfully accessorized mannequin sculptures and the architectural models made with mathematical precision were created by the same artist. Yet, both are prominent parts of Isa Genzken: Retrospective currently on view at the Museum of Modern Art in New York. Representing distinct periods in the[…]

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JULIANNE SWARTZ // SMoCA

by Sarah Hamilton Viewing artwork in a gallery or museum is a two-part pleasure. The first part is the pleasure you take from viewing the artwork – seeing it up close, perhaps walking around and leaning in to it. The second part is watching others in the gallery move around the same works and seeing[…]

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MILWAUKEE ART MUSEUM // CURRENTS 36: DIRK SKREBER

by Alexandra Kadlec One of many fervent passages from Romanian philosopher Emil Cioran’s book, On the Heights of Despair, describes a peculiar moment of inner disquietude, of “perceiv[ing] the mysterious presence of the most contradictory feelings ever to inhabit a human soul,” of being “simultaneously happy and unhappy, exalted and depressed, overcome by both pleasure[…]

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CLARA BRÖRMANN // NICELLE BEAUCHENE GALLERY

by Tara Plath The paintings of Berlin-based artist Clara Brörmann, currently hanging on the walls of Nicelle Beauchene Gallery, reveal an innate sense of clarity, though a direct understanding of each work’s process may be lost in the layers. The exhibition, entitled Der Tag davor, includes nine recent paintings that appear to address the artist’s autonomy[…]

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BALTHUS // CATS AND GIRLS

by Nadiah Fellah Contemporary audiences are often inured to even the most provocative of imagery, the presence of which has become ubiquitous in our visual culture. However, if a twenty-first century audience still gets squeamish in front of eroticized paintings of young girls, is our discomfort anachronistic, or does the work present a new set[…]

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2013 CARNEGIE INTERNATIONAL

By Robin Dluzen It may contain a modest 35 artists, but that doesn’t mean that the 2013 Carnegie International doesn’t cover a lot of ground. Work is installed everywhere in the Pittsburgh museum: outdoors, amongst the permanent collections, in the white walled exhibition galleries and the unusual architectural corners and clearings of the building. Besides[…]