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Statistical Salvos: Feminism, WARM, and the Guerrilla Girls
When black-and-white posters boldly announcing statistics about inequality in the art world started appearing in 1985, Patricia Olson took note. A decade before the Guerrilla Girls began using New York walls as a canvas, she helped found WARM—the Women’s Art Registry of Minnesota, a 40-member feminist collective and gallery that likewise used the power of data to fight for gender parity in the arts.
Image Ubiquity and the Ordinary Picture
Not your ordinary photography show, Ordinary Pictures surveys the work of some 40 artists—from Steve McQueen and Sturtevant to Amanda Ross-Ho and Elad Lassry—who question, critique, and exploit the materials and methods of commercial image production. From appropriation to collage to experimental film, their practices complicate the ever-expanding global image economy and the role of art within it.
Il Treno di John Cage
A 1978 trip to Bologna to witness “a prepared train”—a happening on wheels, featuring John Cage and a host of Italian collaborators.
Germinal’s Brave New World
What does human communication mean in an age when so many of our interactions are mediated through technology? And how do the ways we connect dictate how we live together? In Halory Goerger and Antoine Defoort’s Germinal, four people work to create a new society from the rubble, writing—as theater scholar Kate Bredeson puts it—“a love letter to the ephemeral beauty of theater and human life.”
First Look: Announcing 16 New Artworks for the Expanded Minneapolis Sculpture Garden
Katharina Fritsch’s giant blue rooster. Commissions by Nairy Baghramian, Theaster Gates, Mark Manders, Philippe Parreno, and others. Sculptures by Sam Durant, Kcho, and Liz Larner. When the renovated Minneapolis Sculpture Garden opens in 2017, visitors will see the return of old favorites plus the arrival of 16 new works. Here’s a first look at the art and artists that’ll animate the new 19-acre campus.
Reconstructing Fragments: Rabih Mroué on Riding on a Cloud
In Rabih Mroue’s Riding on a Cloud, what at first seems to be a biography of his brother, Yasser—who in 1987 survived a sniper’s bullet in Beirut—expands to first tell a family story then a more universal tale. Discussing the work with Belgian curator Cis Bierinckx, the Berlin-based artist and director discusses the piece’s relationship to fact, fiction, absence, biography, and language.
Taste as a Political Matter: Coco Fusco on the Guerrilla Girls
Exploring NYC’s “nocturnal underworld” at age 24, Coco Fusco stumbled upon her “first encounter with a full-on feminist art intervention”: a show at the Palladium curated by the Guerrilla Girls. “This was an activist approach that I could connect with, as it spoke truth to power playfully, with wit and style,” she writes in honor of the Girls’ 30th anniversary—and one that influenced how she makes art today.
Daniel Fish’s Cold-Fusion
Daniel Fish’s aesthetic depends primarily upon “the ‘cold-fusion’ of elements (formal, stylistic/tonal, historical, thematic) that would generally be considered incompatible.” Here, in an interview with playwright Jerry Lieblich, Fish discusses how his work brings together recordings of David Foster Wallace, references to tennis star Tracy Austin, and his own background in Shakespearean theater.
Elvis, Roosevelt, and Living Life Through Someone Else
“In Vegas we saw this impersonator named ‘Big Elvis’ who was extraordinary: a 500–600-pound guy with a beautiful voice, he just sat in a chair and sang Elvis songs,” says the TEAM’s Rachel Chavkin on the genesis of RoosevElvis. But the multilayered “dramedy” transcends Elvis gags: featuring women as the King and Teddy Roosevelt, it offers a madcap exploration of gender, masculinity, class, and hero worship.