Art Seen: National

PROFILE OF THE CURATOR // PAOLA ANTONELLI

by Dominique Moulon Paola Antonelli studied architecture and wrote about design before becoming curator of the Architecture and Design department at the Museum of Modern Art (MoMA) in New York in 1994. She has taught at UCLA and Harvard, and is the author of Masterpieces: Everyday Marvels of Design, and co-editor of the exhibition catalogue[…]

PROFILE OF THE ARTIST // IAN WEAVER

by Gregory Maher Nostalgia, A Darker Saccharine Nostalgia—the kind that is intimately sewn into the patches of a family quilt—is the force that drives Ian Weaver’s work, and his current exhibition at the Indianapolis Museum of Contemporary Art (iMOCA). The gallery, “like a Kunsthalle,” is white-walled and nondescript, the perfect space to spotlight Weaver’s iconic[…]

ANOTHER LOOK AT DETROIT // MARIANNE BOESKY & MARLBOROUGH CHELSEA

by Tara Plath Another Look at Detroit, a two-part exhibition currently on view at Marianne Boesky and Marlborough Chelsea, is curator Todd Levin’s heartfelt endeavor to shed a more personal and positive light on a city recently cast into the shadows of bankruptcy. Levin’s selection is far-reaching and diverse, creating a narrative that appears more[…]

DARA FRIEDMAN // MUSEUM OF CONTEMPORARY ART DETROIT

by Alexandra Kadlec At the beginning of Kanye West’s music video Runaway (2010), an unexpectedly poetic scene takes place. West, dapper in a suit and bowtie, starts to tap the keys of a white piano. Slowly, resolutely, the somber notes are sent out, piercing the air one at a time. Within seconds, a troupe of[…]

PROFILE OF THE ARTIST PT II // JULIA WACHTEL

In Conversation with Tara Plath – Read Pt I of the interview here – Julia Wachtel’s most recent solo exhibition was at Elizabeth Dee, and before that at Vilma Gold in London. Across these exhibitions, there has been a lot of focus on Wachtel’s work from the 1980s. Her upcoming exhibition at the Transformer Station with the Cleveland Museum of Art will[…]

PROFILE OF THE ARTIST PT I // JULIA WACHTEL

In Conversation with Tara Plath Julia Wachtel’s most recent solo exhibition was at Elizabeth Dee, and before that at Vilma Gold in London. Across these exhibitions, there has been a lot of focus on Wachtel’s work from the 1980s. Her upcoming exhibition at the Transformer Station with the Cleveland Museum of Art will be ninety percent new work. A few very early[…]

TARA DONOVAN // PACE GALLERY

by Nadiah Fellah A Closer Look The scent of Tara Donovan’s recent work precedes any sight of it as viewers enter Pace Gallery’s New York space. The distinct, woodsy scent of paper overpowers the galleries, and becomes stronger upon approaching the columnar structure of her large, Untitled sculpture, created entirely from stacked index cards. In[…]

STERLING RUBY // HAUSER & WIRTH

by Tara Plath Sunrise Sunset I have, until this point, avoided a critical engagement with the work of Sterling Ruby. This was not an intentional action – but more so due to the fact that I had not yet had the opportunity to stand in a room with his work, instead experiencing his massive sculptures[…]

MARK GROTJAHN // BUTTERFLY PAINTINGS

by Deborah Doering Butterflies – and Grotjahn’s work – may be seen as transformational entities, quite appropriate for new beginnings. Curator Douglas Fogle has selected 15 of Grotjahn’s seminal paintings from public and private collections to illustrate the evolution of the artist’s work, created between 2001–2008, currently on view at Blum & Poe’s inaugural exhibition[…]

NICOLE EISENMAN // DEAR NEMESIS,

by Stephanie Cristello Open Letter to an Enemy: Nicole Eisenman (1993–2003) When Western painters in the mid-late 1800s imagined the exotic landscape of the East, it was filled with caricature and hyperbole. Style comes into question more in this genre than any other, because the paintings are topical – what you see on the surface,[…]

JIM HODGES // WALKER ART CENTER

by Patrick G. Putze Give More Than You Take Once in a blue moon, a retrospective of an artist you know very little about comes along and completely sweeps you off your feet. This is the case of The Walker Art Center’s current exhibition entitled Jim Hodges: Give More Than You Take. The exhibition features[…]

PROFILE OF THE ARTIST PT II // DEB SOKOLOW

In Conversation with Joshua Michael Demaree Part II Read Pt I of the interview here. Posted last week was the first of a two part conversation with Deb Sokolow, contemporary art’s own private detective. Her drawings and artist’s books take the form of exposés, revealing imagined pasts of mystery and intrigue. Her compositions skillfully combine[…]

PROFILE OF THE ARTIST PT I // DEB SOKOLOW

In Conversation with Joshua Michael Demaree Part I Deb Sokolow is the closest thing contemporary art has to a private eye. Her drawings, like a good detective, lay out the plots points of a mystery and allows the viewer to put the pieces together. She has a masterful grasp of the interplay between the visual[…]

WRITING INTERNATIONALLY // EXPERIENCING EXHIBITIONS ONLINE

A Panel Discussion Organized by THE SEEN Publishing platforms are changing – the transition from print into online is more rapid now than ever. THE SEEN, Chicago’s International Online Journal of Contemporary & Modern Art, features in-depth global coverage of exhibitions, artists, and events. An independent editorial affiliate of EXPO CHICAGO, the publication is the[…]

MARIA LASSNIG // MoMA PS1

by Tara Plath NEW YORK, NY. Maria Lassnig’s current survey at MoMA PS1 invites viewers to contemplate context, whether by intention or not. This invitation is proposed by the very nature of the self-portraits on view by the Vienna painter, born in 1919 and currently living and working in her native city, as well as[…]

UICA // MERCURIAL SILENCE

by Alexandra Kadlec GRAND RAPIDS, MI. A thin streak of yellow chalk maps an uneven path across the charcoal-gray walls of a darkened gallery room within the Urban Institute for Contemporary Art. It recalls a road, the course of a life; the nonlinear, unpredictable journey we are all fated to experience. That the backdrop of[…]

MONUMENT / ANTI-MONUMENT

by Stephanie Cristello ST. LOUIS, MO. Within the context of public sculpture and installation, a friend and I often talk about the pejorative category of merit-badge art. I have since found myself applying it to almost every context and conversation surrounding public art that I am forced to think about, or address on any higher[…]

JORDAN WOLFSON // DAVID ZWIRNER

by Stephanie Cristello “Every night I rush to my bed with hopes that maybe I’ll get a chance to see you when I close my eyes[1]” “I want to hold the hand inside you I want to take a breath that’s true[2]” You start at the edge of a long hallway, placing one foot in[…]

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[…]

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.[…]

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[…]

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[…]

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[…]

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[…]