Welcome to a future that has always been, where resurrected technology suggests everlasting life and highlights an end point. These are the possibilities and contradictions inhabiting Dean Kenning’s unique kinetic sculptures.
“Artista visual, productor musical, técnico de sonido y emprendedor. Interesado en ciencia, nuevas tecnologías, diseño y big data,” así se auto-define Sebastián Andreatta (alias BiH), quien apenas pasando los 30 años, desarrolla una obra preponderantemente urbana donde combina afiches, intervenciones e instalaciones sitio específico así como acciones y performance en la vía pública de carácter
Born in Bromley in southeastern Greater London, Court worked as a general laborer for several years before receiving a foundation diploma in art from London’s Camberwell School of Art and a BFA in sculpture from the Norwich School of Art and Design.
After a year’s delay, the 59th edition of the Venice Biennale, “The Milk of Dreams,” curated by Italian-born, New York-based curator Cecilia Alemani, was overwhelmingly embraced—and deservedly so.
“Black Atlantic,” presented by Public Art Fund and currently on view at Brooklyn Bridge Park, brings together newly commissioned works by five artists—Leilah Babirye, Hugh Hayden, Dozie Kanu, Tau Lewis, and Kiyan Williams—sited across the waterfront park’s three piers, with views of New York Harbor and the Statue of Liberty beyond.
Public art isn’t what it used to be. As we remove historical monuments associated with racism and ethnic disenfranchisement from the American landscape, we force ourselves to rethink the goals of public art and to reconsider who we are as a people.
Masimba Hwati, who was born and raised in Zimbabwe, constructs intriguing assemblages of objects that comment on the country’s contemporary landscape with a mixture of traditional, colonial, postcolonial, and imported pop culture imagery.
Born in 1975 in Pittsburgh, Chris Schanck grew up in Dallas. He received a BFA in sculpture from the School of Visual Arts and an MFA in design from Cranbrook Academy of Art. Since 2011, he has lived in Detroit, where he founded a studio employing more than a dozen artists, students, and craftspeople.
Because Ward’s work can’t be reduced to a mere collection of materials, he enlists viewers in a process that recharges typical interactions with objects. We see something over and above a process and collection of things—a particular lived history of race, poverty, and consumer culture.
Su trabajo se despliega en instalaciones, objetos o conjuntos escultóricos, muchas veces jugando con la dinámica del espacio que los contiene para generar la idea de que esos espacios son habitables en la realidad.