NEWS

Art Agenda reviews "Publishing Against the Grain," co-curated by Alaina Claire Feldman and

"Publishing Against the Grain" by Sean O’Toole for Art Agenda One of my earliest writing gigs was for Casper, a short-lived little magazine founded in May 1998 by artists Luis Felipe Ortega, Daniel Guzmán, Gabriel Kuri, and Damián Ortega. I was vacationing in Mexico City and during a two-week stay with Kuri was co-opted into writing about Osaka’s noise music underground for one of the magazine’s eventual thirteen installments. My expertise was tenuous: I lived in Japan at the time, had attended a couple of live shows, and owned copies of Matt Kaufman’s ribald zine Exile Osaka. Kuri though was an encouraging editor. Months later, I received a decorated A5 envelope containing a staple-bound is

MACP fellow Natalia Viera Santiago curates "Best Friends For Never: Roberto Márquez, Fernando P

Best Friends For Never: Roberto Márquez, Fernando Pintado, Jonathan Torres Curated by Natalia Viera Salgado January 27 – February 9, 2018 Ghost Gallery x Little Beast 893 Bergen Street #7 Brooklyn, NY, 11238 Ghost Gallery is pleased to present Best Friends for Never, an exhibition of ceramics, paintings, and sculptures by Roberto Márquez, Fernando Pintado, and Jonathan Torres. Through their work, the artists explore humor, memory, and chaos. Marquez challenges the viewer’s expectations of ceramics—their dimensionality, texture, and presentation—by co-opting the idiosyncrasies of painting; he uses subversive tactics such as material transformation to expand on the idea of humor within his s

Artforum reviews “Stories of Almost Everyone,” on view at the Hammer Museum, curated by Aram Moshaye

“Stories of Almost Everyone” by Colby Chamberlain for Artforum Thanks to Gotthold Ephraim Lessing and Clement Greenberg, the Greek statue of Laocoön is indelibly associated with modernism’s strict separation of narrative and plastic arts. Now that medium-specific studio artists have ceded ground to project-based multitaskers experimenting with documentary, ethnographic, and archival research, however, perhaps we need to revisit the story behind the statue. After all, who is Laocoön if not the first critic to caution against accepting an artwork at face value? This survey of art from the past twenty years, featuring more than thirty international artists, will foreground how objects are taske

MACP faculty-at-large and artistic director of MAXXI Hou Hanru responds to challenges for art commun

"Looking Forward 2018: South Africa and the Mediterranean" by Sean O'Toole, Hou Hanru, Barbara Casacecchia for Frieze 2018 promises to be a quieter art year than 2017, with some anxieties. There’s uncertainty across the world with Donald Trump’s presidency and Xi Jinping’s leadership: the possibility of a new Intifada with the relocation of the US embassy to Jerusalem and the shameful, ongoing expulsion of Beijing’s migrant workers due to ‘security problems’. The art community cannot avoid the storm: a new wave of ‘corrections’ of male behaviour is underway. It’s certainly a healthy development, but could also result in a culture of fear. Along with the global increase in surveillance, the q

Book launch announced for "Supercommunity," co-edited by MACP director of research Brian K

Double U.S. Book Launch of Duty Free Art and Supercommunity January 24, 2018, 6:30 pm Solomon R. Guggenheim Museum In collaboration with e-flux and Verso Books, the Guggenheim presents the U.S. launch of two recent Verso publications: Hito Steyerl’s Duty Free Art: Art in the Age of Planetary Civil War, a new volume of essays by the writer, filmmaker, and artist; and Supercommunity: Diabolical Togetherness Beyond Contemporary Art, a collection of essays, poems, short stories, and plays by artists and theorists selected from the eponymous 88-text issue of e-flux journal commissioned for the 56th Venice Biennale. The evening will feature Steyerl in conversation with media theorist Wendy Hui Ky

MACP fellow Jesse Firestone curates show at NARS Foundation entitled "New Monuments for a Bette

New Monuments for a Better Tomorrow, Pt 1 Curated by Jesse Bandler Firestone January 26 - February 23 Opening reception: January 26 NARS Foundation 201 46th St Fl 4, Brooklyn, New York 11220 New Monuments for a Better Tomorrow brings together seven artists and their proposals for new public works. These new works are not shown as pristine 3D renderings, but are instead exhibited as artworks that utilize a range of techniques and mediums to convey their ideas to the viewer. By treating each artwork as a stand-in for an unrealized monument, the viewer is asked to use their imagination and complete the image of each proposed work. In turn, the exhibition creates a scenario where the viewer mu

MACP Alumna Allison Peller co-curates show at Dorsky Gallery Curatorial Programs entitled "Mold

Molding / Mark-Making: Ceramic Artists and Their Drawings Curated by Margaret Mathews-Berenson and Allison Peller Featuring the work of Ann Agee, Lynda Benglis, Kathy Butterly, Nicole Cherubini, Elisa D’Arrigo, Peter Gourlain, Joanne Greenbaum, Valerie Hegarty, Stephanie Imbeau, Kristen Jensen, Julia Kunin, Alice Mackler, Annabeth Rosen, Arlene Shechet, Peter Shire, and Betty Woodman January 21 – March 25, 2018 Opening Reception: Sunday, January 21, 2018, 2-5 pm Dorsky Gallery Curatorial Programs 11-03 45th Ave, Long Island City 11101 More here.

Bloomsbury Publishing releases new publication by MACP faculty member Keith Whitmoyer entitled &quot

The Philosophy of Ontological Lateness Merleau-Ponty and the Tasks of Thinking Addressing Merleau-Ponty's work Phenomenology of Perception, in dialogue with The Visible and the Invisible, his lectures at the Collège de France, and his reading of Proust, this book argues that at play in his thought is a philosophy of “ontological lateness”. This describes the manner in which philosophical reflection is fated to lag behind its objects; therefore an absolute grasp on being remains beyond its reach. Merleau-Ponty articulates this philosophy against the backdrop of what he calls “cruel thought”, a style of reflecting that seeks resolution by limiting, circumscribing, and arresting its object.

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