Contemporary Art in the Americas Arte Contemporáneo en las Américas
57th Carnegie International, Pittsburgh, Pennsylvania, USA 57th Carnegie International, Pittsburgh, Pennsylvania, USA

57th Carnegie International, Pittsburgh, Pennsylvania, USA

By Noah Simblist Carnegie Museum of Art 10/13/2018 – 03/25/2019

Passing for Beauty: Does an exhibition need to look political to be political? It begins with joy. Or, more precisely, “museum joy.” This is the aim that curator Ingrid Schaffner has articulated for the 57th Edition of the Carnegie International. It is emblazoned on the requisite tote bag and highlighted in The Guide, the first

Alex Da Corte, Rubber Pencil Devil, 2018, 57º Carnegie International. Foto: Tom Little. Cortesía del artista y Karma New York Aparentar belleza: ¿una exposición necesita parecer política para ser política? Comienza con alegría. O, más bien, “alegría del museo”. Éste es el objetivo que la curadora Ingrid Schaffner ha articulado para la 57º edición de Carnegie International.

Familial Technologies Familial Technologies

Familial Technologies

Jennifer Moon

Commonwealth and Council Los Angeles, California, USA 11/17/2018 – 12/29/2018

Family is often the first institution we encounter: through it, we learn to give and receive love—conditioning how we will transact affection in every other intimate and institutional relationship. Family is also often the site of formative trauma, which similarly will manifest in how we treat ourselves and others for the rest of our lives.

Jennifer’s “vision board”, 2018. Paint, wood, inkjet print, watercolor, collage, Rainbow Scratch Paper, pen, marker, stickers, mixed media. Dimensions variable. Photo: Ruben Diaz. Image courtesy of Commonwealth & Council Jennifer Moon, expansivelove’s Avakin Life, 2018. Image courtesy of Commonwealth & Council Jennifer Moon, expansivelove’s Black Forest apartment, 2018. Image courtesy of Commonwealth & Council Family is often the first institution

I Don’t Wanna Wait For Our Lives To Be Over I Don’t Wanna Wait For Our Lives To Be Over

I Don’t Wanna Wait For Our Lives To Be Over

Manuel Solano

ICA Miami Miami, Florida, USA 11/01/2018 – 04/14/2019

I Don’t Wanna Wait for Our Lives to Be Over marks the first solo museum exhibition in the United States for Manuel Solano. Working across mediums, Solano explores issues of identity and its formation by drawing from their personal life, memories, and popular culture. That art and images are central to the construction of our

Manuel Solano, In the Metro or She’s Not Pretty (2018). Acrylic on canvas. Courtesy the artist and Efrain Lopez Gallery, Chicago Claudia Lozano, Chico (2018). Digital photograph. Courtesy the artist Manuel Solano, Claudia (2018). Acrylic on canvas. Courtesy the artist and Efrain Lopez Gallery, Chicago I Don’t Wanna Wait for Our Lives to Be Over marks

The Feminist School of Painting The Feminist School of Painting

The Feminist School of Painting

Ad Minoliti

KADIST San Francisco, California, USA 10/03/2018 – 12/15/2018

The Feminist School of Painting is a solo exhibition by Ad Minoliti. Culminating her residency at KADIST, the project transforms the galleries into an active classroom with new murals of vibrant silhouettes of animals, landscapes, and geometrical forms. Reimagining the structure of an art school, Minoliti collaborates with a group of Bay Area artists, scholars,

Ad Minoliti, Amigxs, 2018 Digital postcard. Courtesy of KADIST Ad Minoliti, Installation view of Dollhouse, 2018, at Peres Projects, Berlin. Courtesy of KADIST Ad Minoliti, PLAY C, 2016. Digital collage on canvas, 100 x 140cm. Courtesy of KADIST The Feminist School of Painting is a solo exhibition by Ad Minoliti. Culminating her residency at KADIST, the project

Anatomy of Oil Anatomy of Oil

Anatomy of Oil

Susanna Battin, Kate Kendall, LA Transcendental Listenings, Michael Mandiberg, Nina Sarnelle, Molly Tierney, Elia Vargas

Gas Los Angeles, California, USA 09/15/2018 – 11/24/2018

Anatomy of Oil is a group exhibition exploring oil production around Los Angeles. The oil industry greatly influenced the development of the city, which continues to maintain many active extraction sites, often in close proximity to schools, homes, and parks. In some cases, companies build creative solutions to hide oil derricks, disguising them as trees or towers. The

Anatomy of Oil, Installation Shot. Photo by Andy Bennett and Colleen Hargaden. Image courtesy of Gas Susanna Battin and Kate Kendall, Gas-for-Water, 2018. Photo by Andy Bennett and Colleen Hargaden. Image courtesy of Gas Nina Sarnelle, Sound for the long hole, 2018. Photo by Andy Bennett and Colleen Hargaden. Image courtesy of Gas Anatomy of Oil is a

The Return of Coatlicue

The Return of Coatlicue

Marela Zacarias

Wasserman Projects Detroit, Michigan, USA 10/05/2018 – 12/15/2018

Wasserman Projects presents The Return of Coatlicue, an exhibition of new work by the Mexican-American artist Marela Zacarias. Trained as a muralist, Zacarias is now recognized for her site-specific practice of merging sculpture and painting into works that are informed by her research into the history of a place. For her exhibition at Wasserman Projects, Zacarias takes

Installation view, Marela Zacarias, The Return of Coatlicue at Wasserman Projects, Detroit, 2018. Photography by P.D. Rearick Installation view, Marela Zacarias, The Return of Coatlicue at Wasserman Projects, Detroit, 2018. Photography by P.D. Rearick Installation view, Marela Zacarias, The Return of Coatlicue at Wasserman Projects, Detroit, 2018. Photography by P.D. Rearick Wasserman Projects presents The Return of Coatlicue, an exhibition of new work

So close, far away

So close, far away

Curada por Esteban King y Mia Lopez

Sector 2337 Chicago, Illinois, USA 10/13/2018 – 11/18/2018

This exhibition presents work by a group of artists from Mexico and Chicago who explore the parallels and intersections between art, communication and writing. Organized within the framework of the Lit and Luz Festival, So close, far away brings together a multitude of ways in which poetry, art, and literature manifest in artistic practices. The

Installation view, So close, far away, at Sector 2337, 2018. Image courtesy of the curator Installation view, So close, far away, at Sector 2337, 2018. Image courtesy of the curator Installation view, So close, far away, at Sector 2337, 2018. Image courtesy of the curator Esta exhibición reúne trabajos de un grupo de artistas provenientes

Construyendo puentes. Arte chicano/mexicano de LA a CDMX Construyendo puentes. Arte chicano/mexicano de LA a CDMX

Construyendo puentes. Arte chicano/mexicano de LA a CDMX

Curada por Julián Bermúdez

Museo de Arte Carrillo Gil Ciudad de México 09/21/2018 – 11/25/2018

Nacida a mediados de la década de 1960, junto con los protestantes de la Guerra de Vietnam y el movimiento Black Power a favor de los derechos civiles, la lucha chicana desafió la categorización y los estereotipos burlones ampliamente divulgados entre la población anglosajona, así como a los centros educativos públicos, plagados de deserción, que

Patrick Martínez, América es para los dreamers (detalle), 2016-2017. Cortesía AltaMed Health Services Construyendo puentes. Arte chicano/mexicano de Los Ángeles a Ciudad de México. Vista de sala. Cortesía MACG Construyendo puentes. Arte chicano/mexicano de Los Ángeles a Ciudad de México. Vista de sala. Cortesía MACG. Nacida a mediados de la década de 1960, junto con

Somewhere in Between

Somewhere in Between

David Shrobe

Jenkins Johnson Gallery San Francisco, California, USA 09/22/2018 – 10/27/2018

Jenkins Johnson presents Somewhere in Between, an exhibition of new works by New York based visual artist and painter David Shrobe. He creates paintings and assemblages from repurposed, unconventional, or found materials. Shrobe’s first West Coast solo exhibition is on view through October 27, 2018. Somewhere in Between gives us windows and portals, as the

David Shrobe, Cross-Over, 2018. Acrylic, ink, and fabric on canvas. 34 x 27 inches. Somewhere in Between, Installation view at Jenkins Johnson Gallery. Photo courtesy of Jenkins Johnson Gallery David Shrobe, Night Vision, 2018. Oil, acrylic, graphite, paper, canvas, vinyl, and fabric. 60 x 49 x 2 inches. Somewhere in Between, Installation View at Jenkins Johnson Gallery. Photo courtesy

SITElines Biennial 2018, Santa Fe, New Mexico, USA SITElines Biennial 2018, Santa Fe, New Mexico, USA

SITElines Biennial 2018, Santa Fe, New Mexico, USA

Por Diego del Valle Ríos Santa Fe, New Mexico, USA 08/13/2018 – 01/06/2019

Any idea of a nation is capitalist since it bases its reason for being in continuous practices of dispossession and exploitation. The United States is a country which started to be formed from the assassination of Native peoples in the hands of the colonizers, necropolitics which continues to be a reality despite the constant amnesia

SITElines Biennial 2018. Casa Tomada. Installation view. Image courtesy of SITE Santa Fe Toda idea de nación es capitalista pues sustenta su razón de ser en continuas prácticas de despojo y explotación. EE.UU. es un país que comenzó a formarse a partir del asesinato de los pueblos nativos en manos de los colonizadores, necropolítica que