Susan Snodgrass
A publishing career that spans over 30 years, critic and editor Susan Snodgrass writes about contemporary art, art criticism, material art practices, architecture, urbanism, and public art.
Ukrainian Modernism: Identity, Nationhood, Then and Now
The following is a transcription of “Ukrainian Modernism: Identity, Nationhood, Then and Now,” a panel discussion organized by and held at the Chicago Cultural Center in conjunction with the exhibition Crossroads: Modernism in Ukraine, 1910-1930, on view at the Chicago Cultural Center, July 22-October 15, 2006, and The Ukrainian Museum, New York, November 5, 2006-April 29, 2007.
Anri Sala, “Now I See,” at the Art Institute of Chicago
Upon entering the installation of Anri Sala’s Now I see (2004), his first 35-mm film, the viewer is enveloped in total darkness. The effect is, at first, purposefully disorienting; then a flicker of light flashes upon a 10 x 12-foot screen.
Acting Ordinarily
Like Nauman, who gave privilege to the everyday in his early performance pieces in which he would simply record the mundane activities of, for example, pacing in his studio, Industry of the Ordinary “challenge pejorative notions of the ordinary,” as proclaimed in their manifesto, in order to reveal the unexpected in both art and life.
New Video, New Europe
One learns in “New Video, New Europe” that the video artist in East Central Europe is both a provocateur and a scribe, a witness to history whose own interventions speak of moral responsibility and redefinitions of self.
Central and East European Art and Culture, 1945-Present
The following roundtable concluded a panel devoted to contemporary and art historical perspectives on central and East European art and culture from 1945 to the present at the 2001 College Art Association Conference.