Selected articles, essays, interviews and reviews. For additional essays on art, architecture and urbanism, please see my blog In/Site.
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Both the work and the viewer are caught within a subtle warp of spatial dislocation, whereby two dimensions unfurl into three, and three dimensions fold into flatness.
In her installation Shoretime Spaceline (2016), Karen Reimer distorts our perceptions of space and time: the sky becomes the sea, the sea becomes the sky, the present and past combine.
Moholy-Nagy: Future Present, the long overdue traveling retrospective of Hungarian-born artist and educator László Moholy-Nagy, is a timely testament to an artistic practice that was truly interdisciplinary, spanning seemingly every medium and ism, and to an aesthetic vision that saw the creative potential in every citizen.
Compassionate is Lockhart’s immersive practice and commitment to her subjects, here the young women of Rudzienko’s Youth Center for Socio-Therapy, a boarding school for troubled girls, including Milena, whose longstanding friendship with the artist is the impetus for the works on view.
Thread Lines, with its impressive roster of artists, offered a first take on the relationship between fiber art and drawing.
Toward Textiles sets out to reclaim fiber art from disciplines of mainstream contemporary art that have appropriated, and perhaps misappropriated, material-based practices. As such, it attempts to deliver fiber art back to the realm of the physical and the experiential.
The following interview is a composite dialogue, a textual collage that combines passages from a conversation between designer and architect Ken Isaacs and myself that took place on September 9, 2014, in Granger, Indiana, and excerpts from the Isaacs's own writings and other interviews.
Hardline feminism and cottage industry craft, in particular textiles, are employed or rather deployed throughout the works on view, installed en masse to emulate a makeshift agora or meeting space that exists in a not-so-distant future.
Throughout her practice that spans video, film, performance and installation, Irina Botea appropriates the instruments of mediation that shape the politics of memory to reconfigure the way history frames our contemporary consciousness.
The evocative works in Irena Knezevic’s exhibition “Night of the World” belie the horrifying narrative from which they unfold.
At the core of Jan Tichy’s multimedia practice is an investigation of the protean and plastic properties of light, an exploration grounded in the history of photography and by extension film and video. For Tichy, light is a medium of infinite possibility and a means for making visible the hidden histories of his chosen sites, whether a traditional gallery, a public housing complex, or a museum collection.
Irena Knezevic (born Serbia, 1982) is an artist who works in various media, including prints, ceramics, sculpture, video, music, and architecture. Her work often addresses issues related to the political and cultural history of her native Serbia.