Here’s some of what Blaffer staffers been reading this week:
Carolina A. Miranda on what Rick Lowe‘s MacArthur Foundation “genius” award means for the field of social-practice art.
Artforum reports on “collector Frances Reynolds’s party for London-based artist Oscar Murillo, who had been invited to a residency at the collector’s sprawling Jardim Botanica mansion (in Rio de Janeiro). Upon arriving for the stay, Murillo had been struck by the fact that the house staff was predominantly black. He said he couldn’t ignore it. So the artist, dressed in a white jumpsuit, worked as a member of the house staff for the entirety of the residency. In a speech given at the start of the evening, Murillo chastised the country for what he perceived to be blatant colonization, which prompted Rio-based artist Tunga to leave the party and eventually brought Reynolds to tears.”
Related: Hyperallergic‘s Mostafa Heddaya, who calls Murillo’s gesture “a welcome transition away from the large and largely derivative canvases for which he has thus far been best known, and delivers more bite than the Chelsea chocolate factory that may have presaged this line of thinking.”
Milwaukee Journal Sentinel art and architecture reporter Mary Louise Schumacher and her team of Art City contributors (including former Museum of Fine Arts, Houston Core Fellow Santiago Cucullu) examine anti-monuments in Milwaukee and beyond.
Women who want to be alone in Western art history. And who can blame them?
David Ebony picks a single-sculpture solo show at Hauser & Wirth by Buildering artist Monika Sosnowska (The Window, left, is on view at Blaffer) as one of his top 10 New York shows of the month: “She explores in her work the socio-political connotations of the International Style in architecture that emerged in the 1920s and ’30s. For a recent series of works, Sosnowska reconstructed the façade of the Bauhaus in Dessau, designed by Walter Gropius in 1924. Tower is based on Mies van der Rohe’s design for the Lake Shore Drive apartments in Chicago, completed in 1951. Regarded as the epitome of luxury living in the 1950s, the Mies apartment building represented the apotheosis of American capitalism and Space Age optimism. Reduced at a 1:1 scale and presented as though the building’s skeletal structure had suffered some traumatic implosion, Tower recalls a detail of ground zero immediately after 9/11. Sosnowska may not have intended such an equation but the implications are there.”