The catalogue for Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, curated by Dr. Tatiana Flores for the Getty’s Pacific Standard Time: LA/LA, currently at MOLAA. Cover image by David Gumbs.
“Relational Undercurrents: Contemporary Art of the Caribbean Archipelago”—curated by Tatiana Flores (Department of art History, Rutgers University) and supported by Getty’s Pacific Standard Time: LA/LA—will be on view from September 16, 2017 to January 28, 2018 at the Museum of Latin American Art (MoLAA) in Long Beach, California (628 Alamitos Avenue).
New Work: Park McArthur, exhibition at SFMOMA, April 1–August 27, 2017, …
which examines how forms of commemoration and sites of congregation, including museums, create meaning and influence memory. She considers hidden histories and issues of access through explorations of materials, markers, and social spaces.
softly yet effectively in that via a manual.
Sophie Calle’s The Blind on wall. Jorge Pardo’s Pallet (Exotic Wood), 1990 on the ground. Installation views of Some Aesthetic Decisions: Centennial Celebration of Marcel Duchamp’s Fountain, at NSU Art Museum, by Bonnie Clearwater.
“Les Aveugles” (The Blind), created in 1986, Calle questioned people born blind on their representation of beauty. 23 sets of framed texts, b/w and color prints and shelves. Collection of Stuart and Judy Spence, Los Angeles.
The Blind, a set of 12, is also part of L’art et la matière at Musée Fabre de Montpellier Méditerranée Métropole; an exhibition inviting guests to experience objects through touch, thus friendly to the blind. via Perrotin.
Recreation indicated by the Pantone 469, as specified by Federal Highway Administration; but really, Park McArthur.
Visitors to the Whitney Biennial must be at least eighteen years old to put on a headset and watch “Real Violence,” an extremely bloody virtual-reality project by Jordan Wolfson. PHOTOGRAPH BY BILL ORCUTT.
All histories are multifaceted, contingent on who’s telling it, and that’s maddeningly clear here. In their examination of Miami’s history, the artists in MemoryLab are essentially communicating the city’s present and future, because life is too cyclical to keep it all separated.