Art for Eat’s Sake
“Art farmers”—from Matthew Moore and Fritz Haeg to Futurefarmers—have been turning their focus to food, writes Joseph Hart. Offering critiques of industrialized food, they’re also engaged in the search for solutions. Whether by demonstrating more holistic techniques and sources of food production or by exploring new forms of community interaction, they’re helping to define a new day for agriculture.
Animating Space: On the Sculpture Garden
With an apprehensive glance, Oldenburg slowly removed the layers of Kleenex to reveal a captivating object: a spoon, whose bowl rested on an island in a small pond and contained a rubicund cherry.
Campsick: Julian Bleecker Reports from Alec Soth’s Camp for Socially Awkward Storytellers
Julian Bleecker is campsick these days. “It’s like homesick, but for camp,” he explains. In mid-July, the photographer and futurist took part in the Camp for Socially Awkward Storytellers, hosted by Alec Soth and his team at Little Brown Mushroom. With 14 other artists, he traveled the Twin Cities in an RV—from Soth’s St. Paul studio to a “contested forest” and beyond—in search of stories to share.
The Artist Constructs Himself
Verónica Gerber Bicecci
“The artist builds himself and unmakes himself piece by piece; he self-constructs, as if he were a wall where cement is always wet and bricks can be shifted.” Linking her studies with Abraham Cruzvillegas to her grandfather’s unfinished house, left behind when the family fled Argentina’s dictatorship, Verónica Gerber Bicecci muses on paradigms that allow us to “start anew, because nothing is finished.”
Archive as Method
Based in Hong Kong, Asia Art Archive has since 2000 sought to “facilitate understanding, research, and writing in the field, enrich existing global narratives, and re-imagine the role of the archive.” Concluding its #OpenCurating series on contemporary art and new technology, Barcelona’s Latitudes talks with Chantal Wong, Hammad Nasar, and Lydia Ngai about AAA’s work archiving art for Asia and the world.
Growing a Garden
“The public took to it instantly,” says Martin Friedman, Walker director emeritus, on the 1988 opening of the Minneapolis Sculpture Garden. “Everyone had a comment, everyone had something to say. They took ownership right away because it was a public space to begin with.” Now, 25 years and 8 million visitors later, we check back in with Friedman and others who were there when this beloved park was born.