Posts Tagged ‘Alexandra Kadlec’

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ART OF THE LIVED EXPERIMENT // UICA

by Alexandra Kadlec Novelist Paul Auster once remarked, “Changing your mind is probably one of the most beautiful things people can do.” The promise inhabiting this statement can be read as the driving force behind Art of the Lived Experiment (ALE), the international, multi-venue exhibition arriving in Grand Rapids this month. Featuring visual and performance[…]

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POWER OBJECTS // UICA

by Alexandra Kadlec The impact of a work of art is often revealed in subtleties. For collectors Josh Rogers and Lesley Weisenbacher, the experience of art—and where its power lies—is both tactile and elusive. In this context, art making itself becomes an act of ritual; or as Gerhard Richter, whose thickly textured paintings draw the[…]

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PROFILE OF THE COLLECTOR // RYAN KORTMAN

by Alexandra Kadlec A few weeks out from his debut exhibition at the Urban Institute of Contemporary Arts, and Ryan Kortman is feeling a little more vulnerable than anticipated. The sensation is akin to what a novelist feels on the eve of her book’s publication, what an artist experiences before his gallery opening—whether for the[…]

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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[…]

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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[…]

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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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CHRISTOPHER WILLIAMS // THE PRODUCTION LINE OF HAPPINESS

by Alexandra Kadlec A cutaway dissection of a Nikon camera; a cluster of dewy bright red apples; a close-up of a Death Feigning Beetle on its back. These are a few of the composed images within Christopher Williams: the Production Line of Happiness, currently on view at the Art Institute of Chicago. Derived from a[…]

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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[…]

ART PRIZE 2013 // TOP WINNERS ANN LOVELESS & ANNI CROUTER

by Alexandra Kadlec Since 2009, autumn in Grand Rapids, Michigan has become synonymous with Art Prize, an international art competition that occurs over several weeks in September and October. During this time each year, an influx of artists and visitors from all over the world flock to the city’s downtown, where museums, restaurants, and other[…]

UICA GRAND RAPIDS // INTERVIEW WITH ALEXANDER PASCHKA

by Alexandra Kadlec The Urban Institute for Contemporary Arts in downtown Grand Rapids, Michigan is no stranger to change. Founded in 1977 by a group of local artists, to date the nonprofit has been housed in five different spaces, expanded beyond the visual arts to include literature, music, drama, dance, and film programming, and, in[…]

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GALLERY 400 // IT’S THE POLITICAL ECONOMY, STUPID

by Alexandra Kadlec Art rarely provides answers, but rather questions, confronts, and challenges its audience. Often, it is done subtly – and at other times, it is in an emphatic, booming voice. Such is the case in Money to Burn, a videotaped performance shown as part of Oliver Ressler and Gregory Sholette’s co-curated exhibition, It’s[…]