By Martina Dolejsova
Kyong Park’s project 24260 Fugitive House has been an exploration into the nature of Detroit as a “white flight” city, as well as the destruction and devaluation of homes. House 24260 needed to escape before it was next.
Category: Art
In the Desert of Follies: A Trip to the Noah Purifoy Desert Art Museum
By Joanna Grasso
I had just moved to the desert and was getting acclimated. The locals were a motley crew, including international writers, healers, tree whisperers, scroungers and bird watchers. At a local gathering, someone mentioned a site in Joshua Tree full of junk transformed.
In Transit with Adrian Paci
By Susan Logoreci
It is my first trip to Montreal, and I am trudging through a freezing cold February day, in a borrowed coat, scarf wrapped around my face, to the MAC (Musée d’art contemporain de Montréal)…
Charles Long’s Eco-Decadence Redefines the Contemporary Austin
By Seth Hawkins
In a city with the motto “Keep Austin Weird,” The Austin Contemporary—known for its avant-garde, edgy programming—has renovated its flagship, the Jones Center. From January through March 2014, the Jones Center hosted artist Charles Long’s massive collaborative installation “CATALIN,” a true Gesamtkunstwerk combining sculpture, music, scent, light, kinetics, video, theater, and new technology into one spectacle.
Until the Bleeding Stops: Richard Mosse’s The Enclave
By John Haber
After fifteen years, millions of internally displaced people, and well over five million dead, the earth itself should have turned to blood, or so it may seem in The Enclave, an aching, unnervingly beautiful video work by Richard Mosse whose subject is war in the Democratic Republic of the Congo.
The Necessary Angel
By Seph Rodney
The motif that filmmaker Amei Wallach uses to lead viewers into her film Ilya and Emilia Kabakov: Enter Here is the Kabakovs’ anxiety. She shoots them in staccato glimpses . . .
Navigating Space and History in Paint with Liat Yossifor
By Liliana Rodrigues
LR – I understand that your new work is done in three-days per painting. I am curious about this time constraint you impose on yourself. In the past, fresco painters had to deal with the properties of freshly laid wet plaster and pigments; thus, they were forced to paint quickly. What does it mean for you, as a contemporary painter, to set a time constraint on yourself?
The Nomadic Journal 