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Rotem Tamir and Omri Zin, Larval Acceleration: A Conversation in Chunks (2017), installation view at Locust Projects, Miami (all photos by Marilyn Loddi, courtesy Locust Projects) MIAMI — Rube Goldberg machines have a knack for revealing the fatuities of humanity: their wild impracticality yields very simple results that never required a fake boxing glove hitting a lightbulb connected to a pulley system in the first place.
Eden Condoms by Esther Pi & Timo Waag, inspired by various engravings and etchings (all images courtesy Rijksmuseum) “No glove, no love” was never part of the recorded exchanges between Adam and Eve, but the damned lovers are the official spokesfigures for protected sex in a series of condom wrappers designed by Spaniards Esther Pi and Timo Waag.
At the Whitney, a protest against Dana Schutz' painting of Emmett Till: "She has nothing to say to the Black community about Black trauma." pic.twitter.com/C6x1JcbwRa — Scott W.
Bjarne Melgaard’s The Casual Pleasure of Disappointment continues at Red Bull Arts New York (220 W 18th Street, Chelsea, Manhattan) through April 9.
Still from Tomonari Nishikawa, “45 7 Broadway” (2013), 5 min (courtesy Tomonari Nishikawa) Have you ever found yourself sitting in a museum or gallery trying to watch a film or video work while struggling to tune out countless distractions?
The 2017 Whitney Houston Biennial (all photos by the author for Hyperallergic) Three years ago, the Whitney Museum opened its last biennial in the Marcel Breuer building, a sprawling but largely inward-facing show that drew heavy criticism for its lack of diversity. Just a few days later, a one-night exhibition of 85 women artists popped up in a small studio space in Brooklyn.
Hassan Hajjaj, “Afrikan Boy” (2012), Metallic Lambda print on 3mm Dibond in wood frame with Joly sardine tins ( image courtesy Taymour Grahne Collection, via fowler.ucla.edu) The bold, brightly colored patterns of African textiles have long represented the vitality and diversity of fashion across the continent, but their history tells a global story, from Indonesian inspirations, to Dutch manufacturers, to current popularity among fashion designers around the world.
Detail of Shen Shaomin, “Summit” (2009), presented by Osage Gallery at Art Basel Hong Kong 2017 (all photos by Jessica Hromas for Art Basel, © Art Basel) HONG KONG — The corpse of Mao Zedong, the chairman and founder of the People’s Republic of China who transformed the country into a communist nation, lies in state at the most peculiar of places: Art Basel Hong Kong, which runs at the Hong Kong Convention and Exhibition Centre through March 25.
Poster by Marcel Janco & Tristan Tzara (1918) (all images courtesy of Estancia FEMSA) MEXICO CITY — The immeasurable importance of Dada, which arose as a reaction to the unprecedented violence of WWI, is especially important to evoke during this moment of post-truth and “alternative facts.” While there are many concepts to reveal in work from Dadaists like Hugo Ball, Tristan Tzara, and Francis Picabia, an overarching aesthetic of shock often gets overlooked when discussing the movement’s formal contributions to the development of conceptual art, post-modernism, and performance during the 20th century.
Jamie Davidovich, “The Live! Show Promo” (1982) (courtesy Electronic Arts Intermix, (EAI), NY) BRIC is pleased to present Public Access/Open Networks, on view March 23 through May 7, 2017, in the gallery at BRIC House, Downtown Brooklyn’s largest contemporary art gallery.
Cauleen Smith, “Lessons in Semaphore” (2015, still) (image courtesy the artist) Despite working in a variety of disciplines, Cauleen Smith still thinks of herself as a filmmaker.
(courtesy LaBeouf, Rönkkö & Turner) Art Movements is a weekly collection of news, developments, and stirrings in the art world.
Movie poster for #BKKY, from the last scene of the movie (all images courtesy of the director, Nontawat Numbenchapol) #BKKY’s opening scene is a brilliant five-minute-long single-shot piece of cinematography, taken from underneath a desk.
Installation view of Making Plans at Human Resources (image courtesy Human Resources) As the economic gulf between the 1% and everyone else continues to widen, and nationalism seems to spread, issues surrounding labor, solidarity, and systematic change are becoming increasingly relevant.
Deborah Stein (left) and Hannah Ciniglio (right) at a We Make America work session (photo by Debra Pearlman) The effectiveness of the many protests and marches that have occurred around the country following Trump’s election is difficult to gauge for many reasons, but they’ve had a very real and measurable impact on one industry: that of art and office supplies.
Robert Lepage in 887 (photo by Stephanie Berger) In 887, a virtuosic piece of stagecraft created and performed by Robert Lepage, the celebrated theater artist integrates video into scale models of the apartment building where he grew up in order to weave a story that combines the personal and political.
Tammy Nguyen, “Shoot” (2015), watercolor, acrylic, and oil on canvas, 48 x 36 in (all photos by the author for Hyperallergic) In 2010, artist Tammy Nguyen stopped into a used bookstore in Ho Chi Minh City.
Agnès Varda, “Pomme de terre coeur” (1953), vintage silver print mounted on hardboard, 11 3/8 x 8 5/8 inches (photo by the author for Hyperallergic) “Reduce, reuse, recycle.” This catchphrase is of uncertain origin, but linked to the rise of an eco-friendly consciousness and the birth of the Environmental Protection Agency in the 1970s.
New Hampshire Institute of Art’s low-residency Master of Fine Arts (MFA) degrees in Photography, Creative Writing, Visual Arts, and Writing for Stage and Screen let you earn your graduate degree in your own terms, on your own time.
Dana Schutz’s “Open Casket” (2016) (photo by Benjamin Sutton for Hyperallergic) This morning several news outlets — including Artsy, Frieze, and Out Magazine — published parts or all of an open letter allegedly written by artist Dana Schutz asking the co-curators of the 2017 Whitney Biennial, Christopher Y.