Contemporary Art in the Americas Arte Contemporáneo en las Américas
Hot Mess Formalism

Hot Mess Formalism

Sheila Pepe

Bemis Center for Contemporary Arts Omaha, Nebraska, USA 06/28/2018 – 09/15/2018

Sheila Pepe: Hot Mess Formalism examines how the artist often plays with feminist and craft traditions to counter patriarchal notions of recognized or accepted forms of art-making. Because Pepe’s works are often site-dependent, there is a critical relationship to traditional boundaries of museum display that are essential to her sculptural practice. While personal and cultural narratives

Sheila Pepe: Hot Mess Formalism, organized by Phoenix Art Museum, curated by Gilbert Vicario; Installation image courtesy Bemis Center for Contemporary Arts, Omaha, NE, June–September 2018; Photo: Colin Conces Sheila Pepe: Hot Mess Formalism, organized by Phoenix Art Museum, curated by Gilbert Vicario; Installation image courtesy Bemis Center for Contemporary Arts, Omaha, NE, June–September 2018;

From the Page to the Street: Latin American Conceptualism

From the Page to the Street: Latin American Conceptualism

Organized by Julia Detchon

Blanton Museum of Art Austin, Texas, USA 06/30/2018 – 08/26/2018

  From the 1960s to 1980s, artists around the world participated in the profound reorientation of art known as Conceptualism. Thinking critically about entrenched traditions of draftsmanship, painting, and sculpture, artists began to emphasize the idea (or concept) behind a work of art instead of the finished object. In Latin America, this shift involved more

View of From the Page to the Street: Latin American Conceptualism at the Blanton Museum of Art, The University of Texas at Austin, June 30 – August 26. Image courtesy of the Blanton Museum of Art. Alfredo Portillos, Caja con jabones para distintas clases sociales [Box with bars of soap for different social classes], 1974.

Trials in Ancient Technologies

Trials in Ancient Technologies

Gala Porras-Kim

Headlands Center for the Arts San Francisco, USA 07/15/2018 – 08/23/2018

Known for work that mines linguistics and history, Los Angeles–based Artist in Residence Gala Porras-Kim creates formally beautiful, conceptually rigorous projects, often inventing new forms based on fragments of ancient artifacts. While in residence at Headlands Center for the Arts, Porras-Kim has been investigating ancient methodologies of decay and documentation, bringing relief to their residual

Gala Porras-Kim: Trials in Ancient Technologies at Headlands Center for the Arts; photo: Henrik Kam Gala Porras-Kim: Trials in Ancient Technologies at Headlands Center for the Arts: Mesoamerican Negative Space 4, 2018; photo: Henrik Kam Gala Porras-Kim: Trials in Ancient Technologies at Headlands Center for the Arts: Ring Mountain PCNs, 2018; photo: Henrik Kam Known for

Made in L.A. 2018, at Hammer Museum, Los Angeles, USA Made in L.A. 2018, at Hammer Museum, Los Angeles, USA

Made in L.A. 2018, at Hammer Museum, Los Angeles, USA

By Carribean Fragoza Los Angeles, California, USA 06/03/2018 – 09/02/2018

Imaginemos Cosas Chingonas: Astonishment and vision in Made in L.A. 2018 Think back to the last time you were astonished by something. I mean genuinely, viscerally astonished so that you felt gripped or overwhelmed in spite of yourself. Astonishment at an art show for the regular art-goer, like blushing for a correteadx, is hard to

Beatriz Cortez, vista de instalación, Made in L.A. 2018, 3 de junio – 2 de septiembre, 2018, Hammer Museum, Los Ángeles. Foto: Brian Forrest. Imagen cortesía de Hammer Museum. Imaginemos cosas chingonas: asombro y visión en Made in L.A. 2018 Piensa en la última vez que te asombró algo. Me refiero a estar asombrado genuinamente,

Cavernous

Cavernous

Young Joon Kwak and Mutant Salon

Los Angeles Contemporary Exhibitions LACE Los Angeles, California, USA 07/12/2018 – 08/26/2018

LACE’s Summer Residency presents CAVERNOUS by artist Young Joon Kwak and Mutant Salon, a collective of queer-trans-femme-POC artists and performers and a platform for community collaborations. CAVERNOUS is a kaleidoscopic environment that queers the last bastion of manhood in the domestic space—the man cave. CAVERNOUS fractures the patriarchal myth of male privilege and provides an access point for an ongoing critical

Young Joon Kwak & Mutant Salon, CAVERNOUS, installation view. Courtesy of Los Angeles Contemporary Exhibitions (LACE). Photo by Chris Wormald Young Joon Kwak, Vaginis Head Wig II-IV, 2018, Ceramic, paint, custom-made wig Stylist Rosario Ribera from “Hollywood Wigs” owned by Christine & You. Courtesy of Los Angeles Contemporary Exhibitions (LACE). Photo by Chris Wormald Jacinto

The Whole Drum Will Sound: Women in Southern Abstraction at Ogden Museum of Southern Art, New Orleans, USA The Whole Drum Will Sound: Women in Southern Abstraction at Ogden Museum of Southern Art, New Orleans, USA

The Whole Drum Will Sound: Women in Southern Abstraction at Ogden Museum of Southern Art, New Orleans, USA

by Lee Escobedo New Orleans, Louisiana, USA 03/22/2018 – 07/22/2018

As US American men were funneled into the European theatre during WWII to breathe their last breathes, the sounds of drums rolled through the homes and factories back home. It was a calling by a country for its women to fill roles once excluded to them by society. Churning at a brutally slow pace for

Exhibition view. The Whole Drum Will Sound: Women in Southern Abstraction, at Ogden Museum of Southern Art, 2018. Image courtesy of Ogden Museum of Southern Art. The Whole Drum Will Sound: Women in Southern Abstraction en Ogden Museum of Southern Art, Nueva Orleans, EUA  Mientras los hombres estadounidenses eran canalizados al teatro europeo durante la Segunda

No Turns No Turns

No Turns

Brittney Anele, Luis Miguel Bendaña, Libby Black, Steven Evans, Lovie Olivia and Robert Raphael

Jonathan Hopson Gallery Houston, Texas, USA 06/10/2018 – 07/29/2018

Jonathan Hopson Gallery presents No Turns, a group exhibition celebrating Pride and the rich history of our Montrose neighborhood. The title references a sign restricting traffic on our street—“No Turns 7 PM–6 AM”. The sign and others like it were originally installed in an effort to curb “cruising” through Montrose, historically known as the center of

Group show. Exhibition view of No Turns at Jonathan Hopson Gallery, Houston, Texas, USA, 2018. Courtesy of Jonathan Hopson Gallery Group show. Exhibition view of No Turns at Jonathan Hopson Gallery, Houston, Texas, USA, 2018. Courtesy of Jonathan Hopson Gallery Group show. Exhibition view of No Turns at Jonathan Hopson Gallery, Houston, Texas, USA, 2018. Courtesy of Jonathan Hopson Gallery Jonathan

Hyperobjects: Group show at Ballroom Marfa, Texas, USA Hyperobjects: Group show at Ballroom Marfa, Texas, USA

Hyperobjects: Group show at Ballroom Marfa, Texas, USA

By Saúl Hernández-Vargas Marfa, Texas, USA 04/13/2018 – 11/04/2018

The desert, neither uninhabited nor alone: Notes on Hyperobjects, curated by Timothy Morton and Laura Copelin For Cristina Compared to their Chinese and Mesoamerican counterparts, western astronomers were late in observing a wide range of celestial phenomena. It wasn’t until the sixteenth century that Nicolaus Copernicus, drawing on discoveries made by Arab astronomers at the

Emilija Skarnulyte, Sirenomelia, 2018. Video, único canal HD, loop. Imagen cortesía de la artista y Ballroom Marfa. Foto: Alex Marks El desierto, ni deshabitado ni solo: notas sobre Hyperobjects, curada por Timothy Morthon y Laura Copelin Para Cristina A diferencia de los astrónomos chinos, y mesoamericanos, los astrónomos occidentales tardaron en observar la gran variedad de fenómenos

where we meet where we meet

where we meet

ektor garcia and Pei-Hsuan Wang

Good Weather at Chicken Coop Contemporary Portland, Oregon, USA 06/22/2018 – 07/29/2018

I would say that the three characteristics of minor art are: not the deterritorialization of language, but the development of one’s own personal, highly idiosyncratic language; not so much the connection of the individual to a political immediacy, but the acknowledgement that form, which is art’s primary duty, is always already political; and definitely not the collective assemblage

Installation view. Images courtesy of the artists, Good Weather, and Chicken Coop Contemporary ektor garcia, dinosaurios, 2018. Leather, steel ring, copper wire, copper nail, cast aluminum, bike tube. 71 × 7 × 3.5 in, 66 × 4.5 × 2.5 in, 11 × 8 × 1 in. Images courtesy of the artists, Good Weather, and Chicken Coop

Pancha, the Colorful Bird and the Shining Snake

Pancha, the Colorful Bird and the Shining Snake

Jorge Satorre

REDCAT Los Angeles, California, USA 05/12/2018 – 07/08/2018

Pancha, the Colorful Bird and the Shining is the first solo exhibition by Mexican artist Jorge Satorre (Mexico City, 1979) in the United States. The commissioned installation by Satorre consists of a series of sculptures and drawings that collectively portray alternative and subjective historical narratives, developed by the artist in contrast to standard, institutional versions of

Jorge Satorre. Vista de la exposición Pancha, the Colorful Bird and the Shining Snake, REDCAT, Los Angeles, 2018. Courtesy of REDCAT. Photo: Brica Wilcox Jorge Satorre. Vista de la exposición Pancha, the Colorful Bird and the Shining Snake, REDCAT, Los Angeles, 2018. Courtesy of REDCAT. Photo: Brica Wilcox Jorge Satorre. Vista de la exposición Pancha,