Hamburger Bahnhof // Finding Black Mountain: A Working Model For Sensible Members of Society

09/28/2015
Hamburger Bahnhof // Finding Black Mountain: A Working Model For Sensible Members of Society
Exhibition: “Black Mountain, An Interdisciplinary Experiment 1933-1957“ at the Hamburger Bahnhof—Museum für Gegenwart—Berlin. / Von links: Cy Twombly: Untitled, 1951. / Robert Rauschenberg: Pink Door, 1954. / © Nationalgalerie im Hamburger Bahnhof, SMB / Thomas Bruns.
Hamburger Bahnhof // Finding Black Mountain: A Working Model For Sensible Members of Society
Exhibition: “Black Mountain, An Interdisciplinary Experiment 1933-1957“ at the Hamburger Bahnhof—Museum für Gegenwart—Berlin. Photo: Hazel Larsen Archer: Elizabeth Schmitt Jennerjahn und Robert Rauschenberg dancing, ca. 1948. / Cy Twombly, Untitled, 1951. / Robert Rauschenberg: Pink Door, 1954. / Robert Rauschenberg: Untitled (Black Painting), 1952. / © Nationalgalerie im Hamburger Bahnhof, SMB / Thomas Bruns.
The following article was originally published by The Seen in September, 2015. The idea of Black Mountain College has baited my imagination since it first emerged into my experience—an accidental and auxiliary reference—from the otherwise vast sea of culture. The college came up periodically thereafter, breaching conversations as a peripheral point of reference, its significance intuited rather... +

The New [New] Corpse

08/03/2014
The New [New] Corpse
The New [New] Corpse Installation View, Sector 2337, 2014. Photo by Joseph Rynkiewicz.
The New [New] Corpse
The New [New] Corpse, Installation View, Sector 2337, 2014. Photo by Joseph Rynkiewicz. Left to right: Joseph Grigely, “Songs Without Words (Faust),” 2012. Pigment Print, Edition 2 of 3, 35 x 29.5″; Joseph Grigely, “Songs Without Words (Sekou Sundiata),” 2012. Pigment Print, Edition 2 of 3, 35 x 29.5″; Shane Ward, “Victory,”2014. Lead, flocking, granite, extruded polystrene, 58″ (h) x 14 x 14”; Carlos Martiel, “Break the Night,” 2014; Heather Mekkelson, “Debris Field: dependent clause,” 2008. Steel, ceramic, tile, gypsum, board; Jason Lazarus, “Untitled (Vienna, Austria),” 2008. Photographic print, 35 x 27″.
The New [New] Corpse
The New [New] Corpse, Installation View. Photo by Joseph Rynkiewicz. Left to right: Carlos Martiel, “Break the Night,” 2014. Documentation of a 2014 performance at Art League Houston; photograph by Alex Barber, 16 x 24″; Heather Mekkelson, “Debris Field: dependent clause,” 2008. Steel, ceramic, tile, gypsum, board; Jason Lazarus, “Untitled, (Vienna, Austria)”, 2008. Photographic print, 35 x 27″.
The New [New] Corpse
The New [New] Corpse, Installation View, Sector 2337, 2014. Photo by Joseph Rynkiewicz. Left to right: Aman and Auburtin, “Loop Island;” Preston-Myint, “Of Their Slaves and Of Thier Marriages;” Aman and Auburtin, “Loop Island;” Ward, “Victory;” Mekkelson, “Debris Field: told them to look after the young ones;” and Xaviera Simmons, “Super Unknown #2,” 2010, 89 x 42″.
The New [New] Corpse
Young Joon Kwak, “Aggregate Body (Book),” 2014. Edition of 50 + 2 Exhibition copies, 12 x 12 x 1/2″.
The New [New] Corpse
The New [New] Corpse, Installation View, Sector 2337, 2014. Photo by Joseph Rynkiewicz.
Oct 16 – Dec 11, 2014 / Sector 2337, Chicago IL Featuring Benjamin L. Aman & Marion Auburtin, Joseph Grigely, Young Joon Kwak, Jason Lazarus, Carlos Martiel, Heather Mekkelson, Aay Preston-Myint, Rachel Niffenegger, Xaviera Simmons, Shane Ward, and Shoshanna Weinberger; with Jane Jerardi as our November Studio Resident.
A group show with... +

Made Not Begotten: Robert Mapplethorpe // Grand Palais

07/03/2014
Made Not Begotten: Robert Mapplethorpe // Grand Palais
Robert Mapplethorpe, Belly Button, 1986.
Originally published by The Seen, July 2014. “…Heva, naked Eve. She had no navel. Gaze. Belly without blemish, bulging big, a buckler of taut vellum, no, whiteheaped corn, orient and immortal, standing from everlasting to everlasting. Wombed in sin darkness I was too, made not begotten. By them, the man with my voice and my eyes and a ghostwoman with ashes on her breath. They clasped and sundered, did the coupler’s will.” — James Joyce, Ulysses, Episode Three,... +

Jessica Stockholder

03/28/2013
Jessica Stockholder
Jessica Stockholder, Lift, 2013. Installation view, 1301PE.
The following article was originally published by art ltd., in March 2013. One would never suspect that Jessica Stockholder’s ivy-covered studio was originally a barn. The one-story building on the edge of the University of Chicago’s predominantly Gothic-style campus has high ceilings inside, skylights, windows and clean white walls. While it may be a far cry from those iconic red structures... +