Contributed by Jonathan Stevenson / Making deeper sense of some abstract art past its initial visual impact can require extended consideration. Not so much Chakaia Booker’s sculpture, now on view in her solo show “Public Opinion” at David Nolan Gallery. Composed predominantly of exactingly configured pieces of black rubber tires along with wood and metal, the work immediately grips you like a confident advocate, calm and insistent. In Minimum Wage, a shovel entwined in flowing ribbons of rubber appears to struggle to do what it is supposed to do.
Tag: David Hammons
Contributed by Jonathan Stevenson / Getting an authoritative grip on a conceptual artist as elusive and unsusceptible to classification as David Hammons is no mean feat. He has been a willful outsider, defensively attuned to an art world that has, until recently, systematically excluded Blacks and others of color, and remains determined to disrupt and, in some ways, to frustrate the art establishment as he cajoles it into changing. Yet in their deft and moving documentary The Melt Goes on Forever: The Art and Times of David Hammons, which had its American theatrical debut at the Film Forum on May 5, Harold Crooks and Judd Tully essay Hammons’ iconoclastic critique with admirable clarity and due appreciation, plumbing the art, finding the man, and situating him firmly in art history without ever succumbing to hagiography or expository dullness.
Triple Candie reopens: “Because we saw artists as complicit with the problems we were seeing, we were motivated not to work with them”
Shelly Bancroft and Peter Nesbett are reopening Triple Candie this month at 148th Street, just west of Amsterdam. At ArtInfo, Chris Bors sits down with the husband-and-wife team, who are also the co-publishers of Art on Paper, to discuss the future of Triple Candie and its controversial past. “In 2006 […]