political art – Page 3

July 22, 2024October 6, 2024, by Santiago Zabala

Josh Kline’s Greatest Emergency

Josh Kline, Unemployment, installation view, 2016

This is part of a series of articles for the upcoming exhibition, The Greatest Emergency at the Circulo de Bellas Artes of Madrid. The exhibition is based on Santiago Zabala’s book, Why Only Art Can Save Us: Aesthetics and the Absence of Emergency. In this exhibition, ten contemporary artists rescue us into our greatest emergencies, that is, those we do not confront as we should. Each article in the series will contextualize these artists’ practices and explore how they are linked to Zabala’s aesthetic theory and the exhibition’s themes. The second article in this series highlights the work of American artist Josh Kline.

June 1, 2024May 28, 2024, by Saul Ostrow

Jenny Holzer’s Hypocrisy

Opinion

Walls of the Guggenheim Museum bathed in a purple glow. A scrolling LED text installation winds up the ramps of the Guggenheim Museum, displaying texts written and curated by the artist, leading to a blue sky beyond the oculus. — Installation view, Jenny Holzer: L: right Line, May 17-September 29, 2024. Solomon R. Guggenheim Museum, New York. @2024 Jenny Holzer, Artists Rights Society (ARS), New York, Photo: Filip Wolak

“I want people to concentrate on the content of the writing and not ‘who done it.’ I want the work to be of utility to as many people as possible. And I think if it were attributed to me, it would be easier to toss.”
Quote by Jenny Holzer from Art21

Recently, I wrote an opinion piece on the suspect politics of Maurizio Cattelan’s show at Gagosian Gallery — it questioned why successful artists who make political claims for their work do not use their privilege to engage in direct political commentary and action rather than critique by analogy. I’m not suggesting they need to engage in social practices like Mel Chin or Tania Bruguera; I think artists like Cattelan can be more direct in their criticism or more like Theaster Gates, who acknowledges the contradictions and privilege that comes with his success to the degree that he openly differentiates between museums and institutional exhibits that permit him to experimentation and his gallery exhibits that afford him market engagement. Meanwhile, while those works have an implied politic, he is an activist who focuses on community development, which is realized through his Chicago-based Rebuild Foundation, which is a platform for cultural development and neighborhood transformation. This multifaceted approach enables Gates to navigate and influence both the art world and broader societal issues without collapsing one into the other.

May 17, 2024June 18, 2024, by Saul Ostrow

Maurizio Cattelan’s Hypocrisies

Opinion

View of Maurizio Cattelan’s 2024 exhibition “Sunday” at Gagosian, New York. Photo Maris Hutchinson

The conjunction of art and politics is a confusing and often compromised enterprise. The commentator Ben Davis argues that as our society regresses under the politics of neoliberalism, such art serves a “compensatory role.” Much explicitly political art is either pedantic or satirical. There’s a long history dating back to the Incoherents and Decadents, the late 19th-century artists who embraced absurdity, irrationality, and the grotesque to protest against emerging bourgeois values and the academic practice of art. They used parody, satire, the carnivalesque, as well as didactic and pedantic jokes to expose cultural ideocracies and societal flaws. This was followed by the Dadaists in the early 20th century, who expressly mixed real-world politics and provocative, anti-art gestures with the intention of undermining social and artistic conventions and setting the groundwork for a social and cultural revolution. Since then, and as an avant-garde compliment to social realism, there has grown up a tradition of the trickster artist—pranksters using absurdity, parody, and gestures to scandalize and provoke their audiences.

January 29, 2024January 29, 2024, by Melissa Stern

Man Bites Dog Bites Man

John O’Connor at L’Space presented in conjunction with Pierogi Gallery

Noahbot-colored pencil and graphite on paper. 83 x 69.5. 2013. Photo courtesy of John Berens

There is an astonishing amount of information in John O’Connor’s drawings. The work, currently on show in Chelsea at L’Space Gallery, explodes off the paper with words and numbers, names, logos, and dates. It’s information overload, and that is part of the genius of the show.

December 27, 2023March 6, 2024, by Xuezhu Jenny Wang

The Immigrant Artist Biennial – In Dialogue

Images and Art: In and Out of Politics with Carlos Franco and Keren Anavy

Keren Anavy. *Archipelago*, 2023. Ink and colored pencils on mylar, plexiglass, shells, concrete bricks, and plywood. Dimensions variable. Courtesy of the artist and The Immigrant Artist Biennial.

As part of The Immigrant Artist Biennial 2023, artists Carlos Franco (b. Puerto Rico) and Keren Anavy (b. Israel) both showed their work in the group exhibition Enmeshed: Dreams of Water at NARS Foundation. Franco’s work often deploys appropriated images and linguistic symbols. He seems to be exploring the contextual complexities behind how signification takes shape and how signification continues to evolve as a context-dependent subject. Anavy’s site-specific work has been connected to the multifaceted paradigm of “ecological order,” according to the book Transnational Belonging and Female Agency in the Arts. Her fabricated environments consider the “liminal geographic spaces between political art and escapism.”

November 29, 2023November 28, 2023, by Melissa Stern

Stéphane Mandelbaum at The Drawing Center

A drawing of a person

Description automatically generated — Ernst Röhm, 1981, Graphite, gouache, marker, and color pencil on paper. 54 3/4 x 47 1/4 inches

Who was Stephane Mandelbaum? A closeted gay man? The child of Holocaust survivors? A liar? A thief? A brilliant artist you’ve never heard of? All of the above and perhaps more.

The Drawing Center is presenting the first-ever show of Mandelbaum’s work in the US, and it is a show that left me gob-smacked. The combination of Mandelbaum’s brilliant drawing, deeply personal vision, and the complexity of his backstory is a tale made for cinema. Born in 1961 to a family of paternal Polish Holocaust survivors and maternal Belgian Armenians, Mandelbaum grew up in the town of Namur, about an hour and a half from Brussels. His Father, Ari, was a well-known painter, and his mother, Pili, was an illustrator. There is no record of siblings. A gifted draftsman from a young age but dyslexic and eccentric, Mandelbaum moved from Namur to Brussels, where he seemed to devote his time to making drawings and engaging in what is termed “petty crime.” He married a woman from Zaire (now called The Democratic Republic of Congo) and lived between the worlds of Belgian Africans, the Belgian crime underworld, and his own artistic imagination.

November 15, 2023September 17, 2023, by Anna Mikaela Ekstrand

The Immigrant Artist Biennial- In Dialogue

Art as Political Vehicle? Pritika Chowdhry, Marcelo Brodsky, and Rafael Yaluff

Marcelo Brodsky. *1968, Fire of Ideas. Kingston, 1968*. 60 x 90 in. Overwritten photograph. Courtesy of the artist and Henrique Faria Fine Art.

Exhibiting in Conflictual Distance at EFA Project Space within the framework of The Immigrant Artist Biennial: 2023 Contact Zone Pritika Chowdhry, Marcelo Brodsky, and Rafael Yaluff explores, in Oraib Toukan’s formulation, ‘cruel images.’ Images that contain evidence of political and bodily violence but are confronted at an extreme political or geographic distance from their events’ site of occurrence. Together with the artists, co-curator Anna Mikaela Ekstrand discusses the politics of art and how the artists approach personal histories and historical and political events before the exhibit.

October 20, 2023October 20, 2023, by Art Spiel

“KIDNAPPED”

In Dialogue

A street sign on a pole in a city

Description automatically generated — New York City

Shortly after the outbreak of the war between Israel and Hamas, flyers suddenly sprouted on New York streets. These flyers were attached to streetlamp posts, tree trunks, and subway stairwells, showcasing photos of infants, children, teens, and grandparents. beneath bold red banners that read “KIDNAPPED.” These photos capture moments from everyday life of people prior to the Hamas attack on October 7th—babies being fed, grandmas smiling, and teens taking selfies. This public art campaign was the brainchild of Israeli street artists Dede Bandaid and Nitzan Mintz. The couple, partners in life and art, have a history of engaging with public spaces globally in places like Tel Aviv, Berlin, Warsaw, and New York. They have recently arrived in New York to pursue their art. However, the events of October 7th shifted their focus. While trying to grasp the enormity and brutality of the terror attack on Israel, they felt compelled to respond by using the street art techniques they were proficient in. Art Spiel had the opportunity to speak with graffiti artist Dede Bandaid over the phone about the inception of this guerrilla street art campaign, which went viral and all over the globe.

June 17, 2023June 17, 2023, by Paul D'Agostino

Collage and Then Some: Vitamin C+

Book Review

Vitamin C+ Collage in Contemporary Art. Introductory essay by Yuval Etgar. Phaidon (back cover)

Recently released by Phaidon, Vitamin C+ is another noteworthy addition to the publisher’s boundlessly malleable series of anthological volumes gathering scores of artist profiles into luxuriantly illustrated, conceptually cohesive tomes. Medium, era, genre, or movement tend to be the organizational binders for these books, as might be expected, and they’re generally wonderful and inspiring as such. But they’re sometimes wonderful and inspiring in less obvious ways as well, furnishing readers with much more to delve into, reflect on, and revisit time and again.

May 18, 2023May 16, 2023, by Art Spiel

Bob Seng: Cutting Corners at John Molloy Gallery

Featured Artist

Macintosh HD:Users:robertseng:Desktop:Art Spiel:Molloy overview3.jpg — John Molloy Gallery: installation view “Cutting Corners”

Bob Seng’s collages at John Molloy remake and reimagine the iconic EXIT sign. The artist says that he has chosen these ubiquitous signs for their attitude, a “go out” directive to an alternate space and time, and for their combative red and black elements. Initially he approached these signs as if they were archaeological excavations, selectively removing layers of the red and black paint to reveal what he imagined as “lost” civilizations buried underneath, “possibly a harbinger of our own in future time.”