To create the multi-part piece “Courtroom Drawings (Steubenville Rape Case, Text Messages Entered As Evidence, 2013),” 2014, LA-based artist Andrea Bowers transcribed the texts by hand as they were read aloud in a Steubenville courtroom last year. Although, as the title indicates, they were used as evidence in the case against the Ohio football star rapists, Bowers’s piece remains the only place that they are available en masse for the public to read. (“Why wouldn’t you try and help me,” reads one of the text messages from Jane Doe.) Large rectangular drawings painstakingly created with thousands of tiny blue marker hatches, they were inspired by the virtual space of cell phones. “This project is particularly personal for me because I’m from Ohio,” Bowers told Artinfo during the show’s installation yesterday. “This project is my wanting to have a document of what rape culture is.”
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Though the age-old vacationing adage bemoans going somewhere and returning with only a lousy t-shirt, visitors to this year’s NADA Miami Beach may well change their tune. Thanks to “NADA x PAOM,” a collaboration between the fair and online design platform Print All Over Me, visitors to the NADA Shop on December 4 to 7 will find a limited edition series of shirts created by three artists represented at the fair: José Lerma, Amy Yao, and Sarah Braman. The shirts will also be available for purchase at the Print All Over Me site. Check out one of the designs below, courtesy of Lerma:
When Kentucky-based collectors Steve Wilson and Laura Lee Brown opened the first 21c Museum Hotel in Louisville in 2006, few could have anticipated that such a novel idea would spread across the midwest like wildfire. In the past eight years, the couple has opened locations in Cincinnati and Bentonville, Arkansas (home of the Crystal Bridges Museum) — and they have quite a few more in the pipeline. Early next year a Deborah Berke-designed property is set to debut in Durham, North Carolina (other locations are in the works in Lexington, Oklahoma City, Nashville, and Kansas City). With the North Carolina opening just months away, we called up 21c director Alice Gray Stites to see what guests (and art lovers) can expect to see in Durham.
Journalists, ready your cat puns: Rhonda Lieberman’s “Cats in Residence” is back. Those up on their kitty news will remember the installation’s inaugural appearance in Lieberman’s wildly popular “Cat Show” at White Columns in June of 2013 — a feline-themed group exhibition that featured over 50 artists, including Cory Arcangel, Mike Kelley, Barbara Kruger, and Marilyn Minter. The centerpiece of the show, however, was the live “purr-formance” piece “Cats in Residence,” in which actual, adoptable cats played in a structure specially designed by Freecell (a.k.a., John Hartmann and Lauren Crahan) and Gia Wolff; following the show’s initial run, 25 of the esteemed “purr-formers” found new homes. Now, Lieberman plans to bring the project to Hartford’s Real Art Ways on November 1 and L.A.’s 356 Mission on a date to be determined this December.
Last week, Cincinnati opened to a bevy of international artists and art tourists with the start of the city’s second FotoFocus Biennial. Though the event itself promises plenty of exciting sights, with 50 participating local venues all dedicated to celebrating “lens-based art” throughout the month of October, newcomers to the city should also keep a lookout for some of the impressive mural work that graces its walls. Not that they’ll have to look all that hard: Thanks to public arts organization ArtWorks, the streets of Cincinnati are covered in all kinds of painterly designs. Below is a small selection of some of the most eye-catching examples.
The description, at best, was vague. Or, well, not “vague” — in fact, the program text for “Mortal Kombat” was littered with specific referents, from krumping to Romulus and Remus to Edward Albee’s “Who’s Afraid of Virginia Woolf,” and of course, a shout-out to the infamous early-90s arcade game from which it takes its name. The vagueness, then, lies in trying to imagine how exactly these elements might all come together in a single two-person performance piece. And so, at 11:45 pm on a Thursday, hoards of asymmetrically-coiffed onlookers flooded the Whitney basement to see what might transpire in the “mismatched physical confrontation” between poet/performer Ariana Reines and actor/writer Jim Fletcher, who conceived the piece together this past year during a residency at Toronto’s Gallery TPW.
Art and fashion are increasingly intertwined these days — they go together like John Baldessari and Rodarte, after all — but Crown Heights, Brooklyn-based German artist Kai Althoff put a distinctly different spin on highbrow couture during Frieze week. His debut exhibition with Michael Werner Gallery, on view through November 15, includes an array of mannequins; walls and floors covered with beige fabric; and a series of wool jumpers (with extravagantly flouncy sleeves and shoulders) that Althoff designed and fabricated. These leftfield fashion elements complement the artist’s eccentrically captivating paintings: beguiling, murky compositions that are occasionally tough to fully decipher in the low-lit room. The show’s press release, with delightful run-on sentences penned by the artist himself, is also a classic: “Having turned into a heavily opinionated and high-strung personality, which seems to brood with anger that unloads fast, Kai Althoff wishes to create an antidote to this state of mind, by work that aesthetically calms the soul and seeks to feed a notion of shelter in an elegant reflecting the utilization of art in the homes of people with good taste and intellectual brilliance in times long passed.”
Today the Vancouver Art Gallery announced the launch of its new Institute of Asian Art — an initiative that will add an endowed senior curator of Asian art, permanent exhibition space, and a host of programming dedicated to the region — with a special emphasis on art from China, India, Japan, and Korea. The museum has already announced two major exhibitions dedicated to China: “The Forbidden City: Inside the Court of China’s Emperors” and “Unscrolled: Reframing Tradition in Chinese Contemporary Art.”
Over at Victoria Miro’s shockingly spacious Wharf Road space in London, Eric Fischl is showing his series of “Art Fair” paintings: Brushily figurative depictions of the bustle and hustle at the ever-omnipresent, big-tented commercial sales events. Evidently Fischl made these works by lurking around actual fairs with his digital camera, snapping away, and then combining the shots he’d taken into lurid alternate realities. So it seemed fitting that we likewise creeped on the sidelines as Fischl inspected his own likeness — mid-text-message — in one of these paintings.