In a gallery off to one side in the ongoing (through May 28, 2018) retrospective on the photography of Stephen Shore at the Museum of Modern Art is a row of iPads linked continuously to Shore’s ever-changing Instagram account. While Shore’s work has always strived to replicate quotidian experiences, it feels strange to scroll through the account while surrounded by his print-on-demand books of the same images, but also entirely natural. MoMA presents these digitally published and ‘hearted’ works as just another facet of the artist’s oeuvre, even including one of his old and cracked iPhones alongside his beloved Mick-a-Matic camera. While Shore’s use of Instagram feels like the 21st century version of the kinds of pictures he has been making through his entire career, other artists have taken up Instagram in ways that are challenging the art world at large.
In early November, IFA MA student Cindy Qi interviewed Hu Xiangqian, whose work is currently exhibited at the Institute of Fine Arts, NYU as a part of the fall Duke House Exhibition chin(a)frica: an interface, on view through February 18, 2018. Hu Xiangqian (b. 1983) was born in Leizhou, Guangdong Province and graduated in 2007 from Guangzhou Academy of Fine Arts. He currently lives and works in New York City. Hu’s artistic practice is grounded in performance and video works featuring an intentional amateurishness and crudeness. Notable exhibitions include the Gwangju Biennial (2014) and the Shanghai Biennial (2016). A photographic still of his durational performance piece entitled The Sun (2008) hangs in the Institute’s Lecture Hall. The interview was conducted in mandarin Chinese and later translated to English by Cindy Qi.
CQ: Having been in New York for several months now, do you have any discoveries or inspirations you would like to share? Have you decided what kind of work to make during your time here?
HXQ: Yes, I have been preparing to get started in my studio. I live in Brooklyn and in my opinion, it’s a very isolated area that has nothing to do with art, but I like that place. It allows me to distance myself from all that is happening in Manhattan while also having the opportunity to be close to all of it. I really like this feeling of being able to pull away and engage at the same time.
When visitors step into the Whitney’s first-floor gallery, which currently houses Toyin Ojih Odutola: To Wander Determined, they risk forgetting that they are standing in a museum. There is a softness to the space that distances it from the rest of the building, its warm lighting and the pink color of the walls evoking a feeling of intimacy that is both inviting and disorienting. A proclamation near the entrance, signed by artist Toyin Ojih Odutola in her role as “Deputy Private Secretary,” alerts viewers that the sixteen arresting works spread throughout the gallery are from the private collections of two aristocratic Nigerian families, the UmuEze Amara and Obafemi, connected through the marriage of the Marquess of UmuEze Amara, TMH Jideofor Emeka, and his husband, Lord Temitope Omodele. With this information, the intimate atmosphere is given context: it feels as if visitors have been transported to a private, family portrait gallery.
If not for the aforementioned, rather official wall text bearing the families’ crests, viewers would not know that Ojih Odutola’s subjects were of such prestigious social standing. Even armed with this knowledge, they are confronted with an incomplete narrative, left to question the identities of the elaborately fashioned figures in each portrait. No names are provided, nor are there any indications of the lineage from which each subject descends. What remains in their absence is a vague understanding that the subjects are related, as well as a desire to know how. Perhaps in other circumstances it would not occur to visitors to scrutinize the figures presented to them, but the context both provided and omitted by the artist’s proclamation incites a curiosity that may never fully be satisfied. This is the challenge that Ojih Odutola sets forth for her audience.
The Usable Past: “The concept that a self-conscious examination of historical figures, moments, and symbols can shape current and future political formation.”
This is how the Whitney defines the title of one of five galleries in their ongoing permanent collection exhibition An Incomplete History of Protest. The works in the gallery present memory and nostalgia as both powerful and yet often insufficient vehicles to re-experience the past. Sharing tropes of obfuscation and anonymity, the works materialize the incomplete nature of memory and documentation.
Annette Lemieux’s painting Black Mass (1991), in which she replaces the protest signs in a civil rights march with black, empty squares, hangs across the room from Glenn Ligon’s Untitled (Speech/Crowd) #2, a photograph of the Million Man March which Ligon has blurred and layered with coal dust. These works recall acts of censorship and evoke the fading hope of social change in a world where battles for civil rights must be repeatedly fought. However, the works in the exhibition that truly express the concept of “the usable past” are those which feature the museum as their main subject.
Lining the walls of the museum’s new Meatpacking building, a multiplicity of letters of protest written to the Whitney by artists and organizations related to the institution emerge from the Whitney’s archives. In a letter from 1971 addressed to former director John I.H. Baur, the Black Emergency Cultural Coalition announced their opposition to the 1971 exhibition Black Artists in America and declared their plans to demonstrate on the museum’s premises. Their initial discontent stemmed from the Whitney’s seemingly empty promise to hire and consult with black art leaders for the curating of the show. The BECC’s correspondence with the Whitney attests to the fact that the institution has dealt with issues surrounding the cultural agency of marginalized groups in an art context. Alongside this letter, dozens of other requests from artists implore the museum to remove their work as acts of protest or solidarity during moments of political unrest, and urge the museum to take a stance on current socio-political debates.
Jennifer Rubell’s Housewife, an installation at the Sargent’s Daughters gallery on the Lower East Side, attempts a conceptual history of modern femininity. In the simplest terms, the show is a meditation on the seeming universality of white, middle-class femininity. However, to critique Rubell’s stark visual vocabulary in this way fails to acknowledge that her work nevertheless touches a certain comprehensive psychological experience, which is both explicit and all-inclusive. From the 1950s housewife to contemporary dating and the difficulties of being a modern woman in the workforce, Rubell’s four pieces – Pedestal, Vessel, Partition Paintings, and Threshold – visualize the precarious nature of a femininity defined and circumscribed by others.
Three steps into the gallery space and the viewer is confronted by Pedestal, an industrial-quality vacuum cleaner placed next to a polished pair of red patent-leather heels fitted atop a heavy square platform. The glaring absence of the female form (the immediate assumption being that the empty space is, in fact, female), registers instantaneously. The effect is an invitation for the viewer to come closer, to slip on the heels, to grip the vacuum and fill that empty space. Although no apron or string of pearls is provided, the associations Rubell creates resonate with clarity. The piece references the commodified feminine ideal of the 1950s housewife who vacuums in her heels, has a hot meal on the table by six pm, and is ready for romance every night. However, because Rubell empties out that visual space, the viewer subconsciously fills it with her own form, which in return highlights the falsity and psychological dangers inherent in such mediating feminine perfection.
Resident Evil, Sondra Perry’s first solo institutional exhibition, fills the second-floor gallery of The Kitchen with a handful of video works made in the past year. Each is “immersive” in one way or another, deploying tactics of spatial activation and coercive, embodied viewing to force visitors into visceral engagement with the screens and their troubling content. These strategies of discord and discomfort mirror the works themselves, which center themes of police brutality and other racialized violence, examining how images and narratives of these issues circulate, distort, and abstract in the digital realm.
The first work one encounters in the exhibition is netherrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr 1.0.3 (2016), set into its own tiny black box. In the video, Perry draws a provocative parallel between the “blue screen of death”—the infamous error screen in Windows operating systems—and the “blue wall of silence,” an unwritten oath among police officers not to incriminate one another in cases of excessive force, brutality, or even murder. At one point in the video, footage of Bill Gates and other Microsoft executives dancing on a convention stage is dubbed over with a deadpan, computerized description of the unwritten officer’s code of conduct (perhaps a double entendre with the computer code that later scrolls by). Another passage features images of women killed by police set to the same voice describing the blue error screens in banal terms. Though intentionally ambiguous, the video uses montage to suggest that capitalist systems and their technological agents are intimately connected with, if not responsible for, the violence wrought against black bodies in neoliberal America.
Tucked away in SoHo, New York, The Drawing Center is a small museum founded by Martha Beck in 1977, explicitly dedicated to the medium of drawing. For the last few years, the creative minds behind The Drawing Center’s events and exhibitions have been working towards pushing beyond the traditional understanding of the term drawing, and opening it up to various applications and interpretations. Cecily Brown: Rehearsal, organized by the chief curator of the museum, Claire Gilman, is one such exhibition. It calls the viewer to contemplate the medium of drawing; from its materiality to its role in the artistic process of an acclaimed artist, Cecily Brown, which as a result creates a sense of intimacy throughout.
Brown is a British artist known for her tactual paintings, for which she draws influence ranging from old masters to the expressionism of the 50s. Drawing is a lesser known part of Brown’s practice and has not been seen before in the scale and context of a solo museum exhibition. The works on display inform on Brown’s practice by giving the viewer the opportunity to observe how the artist visits existing drawings again and again, each time unpacking something new until, as she notes, she understands it completely. In a talk that took place in the museum, Brown discussed how her drawings are fairly independent of her painting practice, serving a purpose of their own. The works in Cecily Brown: Rehearsal were selected, among other reasons, so as to accentuate this special role in her overall practice.
CUNY’s James Gallery at The Center for the Humanities ushers in the fall semester with an exhibition based on Alison Knowles’s 1967 conceptual work The House of Dust. The show seeks to encompass the many limbed and generative nature of Knowles’s artwork by showing how it continues to stimulate other artists to explore its themes of translation, permutation, intentionality and inclusivity, bringing to light the work’s enduring relevance.
The House of Dust is a computer generated poem written in the programming language FORTRAN, which generates verses by randomly combining elements from four lists pre-determined by Knowles: each verse consists of four components including, and always beginning with, “a house of,” followed by a location, then a material, and finally a category of inhabitants. The poem repeats after 400 verses. In 1969, based on one of the verses, “A HOUSE OF PLASTIC/ IN A METROPOLIS/ USING NATURAL LIGHT/ INHABITED BY PEOPLE FROM ALL WALKS OF LIFE” Knowles constructed an actual “house” in Chelsea. The house was moved to Burbank, California when she took a teaching position at CalArts in 1970. Knowles also orchestrated several other projects using computer programs, involving students and community members with her house as the nexus.
Three hours after boarding a train near Amsterdam, I stepped into the medieval town of Maastricht, which perks up around this time every year since The European Fine Art Foundation, or TEFAF, began in 1988. I joined the throngs of collectors, dealers, students, and art lovers in the wings. And then the doors opened to the world’s most lavish art fair, featuring exquisite fine art, antiques, jewelry and other treasures from more than 260 dealers.
TEFAF is as well known for putting on a spectacle as it is for its rigorous vetting process. To ensure that collectors can buy with highest confidence, a committee of 175 experts in various categories painstakingly examines each work for authenticity, condition, and quality. They employ XRF technology, and TEFAF was the first fair to incorporate The Art Loss Register. Furthermore, the fair is by invitation only: a gallery must have a fine pedigree in order to participate. Official categories include paintings, antiques, modern works, manuscripts, classical antiquities, haute joaillerie, design, and paper-based works. I was surprised at the diversity I encountered within these areas: modern sculpture, Uruguayan equestrian gear, Renaissance leather wall panels, Chinese porcelain, Iznik tiles, seventeenth-century metalwork, Japanese prints, Australian aboriginal art, and contemporary ceramics.
Though the fair’s calling card is Old Master paintings, the exhibition design boasted a modern flair, with sharp edges, sweeping high walls, a color palette of black, white, and gray, and a large-scale contemporary work adorning the entrance (Figure 1).
The Leiden University Medical Center (LUMC) is a world-renowned university and teaching hospital. What few people may realize is that it boasts an art collection and free public gallery, which hosts five shows per year. The LUMC holds an exhibition of nominees and winners of the Hermine van Bers visual arts prize—a yearly award that stimulates the development of young artists—and invites contemporary artists to create site-specific pieces in a large open hall with an abundance of natural light. The collection, primarily photographs, prints, and drawings, which began 25 years ago, continues today through the efforts of one curator, Sandrine van Noort. Interestingly, the purpose of the collection is markedly different from that of institutions devoted to art. Instead, the works provide the background for photos of newborn babies, offer a temporary escape from nail-biting stress, and splash color onto otherwise depressingly industrial cement walls. The art distracts from the hospital environment and brings a labyrinthine institution down to a more human scale.