For the museum, this exhibit of Indian contemporary photography is a great complement to the PMA’s commitment to Indian art. For Philadelphians, the show is a great introduction to work that has not been widely exhibited here before.
Read MoreThe political art product might not be an immanent active one, but its power seems to lie in the possible artistic influence to gradually transform social-political thinking.
Read MoreThe works of Meksin, Sack, and DeMuro are introspective, thought-provoking, and push against some of the boundaries that the curators sought to explore. However, I thought that Kati Gegenheimer’s drawings, although pleasing in their own right, did not fit in.
Read MoreWick’s work invokes feelings about the earth we inhabit, about our fragility and vulnerability, about our fears and our passions, and about what we are doing to the earth and to each other.
Read MoreTanner’s works on paper are initially gorgeous, a respite for the senses. But fragile, awkward moments point to uncomfortable relationships between forms.
Read MoreArt is not an “autonomous” realm of cultural production that is cut off from, or outside, the unfolding of everyday life. Rather, it is something that takes place within reality at a given socio-historical moment. I would like to build on these initial reflections by developing the very idea of this “taking place within”. I will refer to this, more precisely, as art’s immanence (I take this word to mean here, quite simply, a status of “being within something,” a kind of “indwelling”).
Read MoreThe centerpiece of the show is Goodman’s “Untitled,” reproduced here. This to me is Goodman at his finest: the brilliant contrast of light, color, and darkness, the ambiguity of direction, the mysterious, luminescent, transformative power of the cylindrical object that dominates the canvas.
Read MoreLooking at the titles, the show is undeniably an homage to love and how it reveals itself to people. Yet the show also is a metaphor for the artist’s love of interacting with paint.
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