Deconstruction: A reordering of life, politics, and art curated by Amy Galpin.
Category: art
A view of Relational Undercurrents
Installation view of Relational Undercurrents, Stella & J. Burton Orr Pavilion, Patricia & Phillip Frost Art Museum.
Additional views from the opening.
Update: worldredeye link 101818
Relational Undercurrents: Contemporary Art of the Caribbean Archipelago at FIU
Relational Undercurrents: Contemporary Art of the Caribbean Archipelago is a major survey exhibition of twenty-first century art from islands throughout the Caribbean basin.
On view, at The Patricia & Phillip Frost Art Museum, Saturday, October 13, 2018 through Sunday, January 13, 2019. Curated by Tatiana Flores, Associate Professor of Art History and Latino and Caribbean Studies at Rutgers University. Organized by: Museum of Latin American Art in Long Beach, California.
Beatriz Santiago Muñoz, “Matrulla,” 2014, Digital video, 6:30 minutes, Courtesy of the artist and Galeria Agustina Ferreyra.
Didier William, “Dancing Pouring, Crackling and Mourning,” 2015, Mixed media on wood, 60 x 48 inches, Courtesy of the Robert and Frances Coulborn Kohler Collection.
Deborah Jack, Evidence 19 from the series Our Tears Were Reborn As…, 2009-2011, Digital print on aluminum, 28 x 42 inches, Courtesy of the artist.
Jeannette Ehlers, Black Bullets, 2012, Video, 5:05 minutes, Courtesy of the artist.
Views of the part of the show at the Wallach Art Gallery at Columbia University.
Flores and Scherezade Garcia at LA Art Show.
Catalogue. Artishock. LATimes. Hyperallergic. Recent review in X-TRA.
Alexander Lee
Alexander Lee: NO’ANO’A, will close October 20th, 2018, at Marisa Newman Projects, 38 West 32nd Street, Suite 1602.
Here, this place
AG2018-O_1110326d or did i forget to mention
Cape Honeysuckle in Watts, October 2017.
WAGENCY
Working Artists and the Greater Economy(W.A.G.E.) launches WAGENCY.
It turns out that an industry organized around profiting from unpaid labor requires more than a certification program to keep it in line – it requires artists to mobilize together as a workforce. WAGENCY is how we propose to collectivize our leverage and self-organize around the demand to be paid. We built WAGENCY for artists who need to earn money in order to survive, and who refuse to support a multi-billion dollar industry through their exploitation by it.
Charles Green Shaw – Untitled #22
Charles Green Shaw
1892 – 1974
Untitled #22
signed Charles G. Shaw and dated April, 1940 (on the reverse)
oil on canvasboard
16 by 12 inches (40.6 by 30.5 cm)
Provenance
Spanierman Modern, New York
Valerie Carberry Gallery, Chicago, Illinois
Acquired by the present owner from the above, 2013