Zefrey Throwell, “Large-Scale Troublemaker”

by Danny Kopel, August 2011 Wednesday, August 10, 2011. 3pm. The art world enfant terrible spoke to us following buzz-generating and widely-covered Wall Street happening, where fifty performers disrobed in an effort expose one of America’s most nebulous thoroughfares. Throwell sat down with us at an unsuspecting sushi restaurant in Midtown and staged a delightful private performance where…

The People’s Republic Of: Ostalgia at the New Museum

by Sarah Hassan, August 2011 Taking its title from the German term ostalgie, meaning nostalgia for life in East Germany before the fall of the Berlin Wall and the subsequent collapse of the Soviet Union, Ostalgia, currently on view at the New Museum, seeks to create a transnational dialogue between artists who lived and worked in the…

Locus at University of Oregon’s White Box Gallery, Portland

by Sarah Vaeth, August 2011 Locus is the collaborative team Robert Mantho and Michael Wenrich, whose joint projects examine architecture as “an act of art in a specific place.” In Changing Place, Mantho and Wenrich have finely intersticed the two rooms of White Box gallery in Portland with strands of thin vinyl-coated cord, anchored in a…

On Mika Rottenberg

by Frances Malcolm, August 2011 While the body has maintained a central place in art history’s arsenal of iconography throughout the ages, it has also endured a long legacy of impassioned theorization and irresolvable debate. Feminism, biomedical breakthroughs and the postmodern turn, amongst other socio-cultural developments, have shattered any claims of the body as a…

An Interview with David Jablonowski

by Sophia Marisa Lucas, August 2011 The task of moving towards a global art world is a considerable one, where art history collides with the contemporary moment, and our fraught relationship with technology, persistent concerns about national identity and worldwide economic shifts are at the fore. Many scholars and artists have begun to parse out…

Ryan Trecartin: Any Ever at MoMA PS1

by Jimmy Lepore Hagan, August 2011 An anonymous comment on TheDailyBeast.com’s review of Ryan Trecartin’s video and installation blockbuster Any Ever at MoMA PS1 leveled the most flattering of insults. AnyoneforTea wrote, “The art world died with the fraud of Pablo Picasso, everything since has just been trash.” While no major review has been so daring as…