Through interviews with prominent Iranian female artists, Robert Adanto’s new documentary Pearls on the Ocean Floor examines the ways the younger generation of Iranians are forming a new cultural identity for their nation. The film reaches outside the cloistered and repressed stereotype of Islamic women, focusing instead on their compelling artistic responses to Iran’s continual national conflicts. For more information about the film, click here.
• A new exhibition at Britain’s Tate St. Ives, Object: Gesture: Grid: St. Ives and the International Avant-Garde, features the largest body of Collection work shown at the museum in over ten years. The show concentrates on the emergence of Modernist art in the seaside artists’ colony at St. Ives following WWII, and the relationship of the American and European ideas and practices that emerged there. Visit the Tate website for more information.
• The cities of New York and Turin are recognized as epicenters of Post-Minimalist sculpture in Forms of Contingency: New York and Turn 1960s-1970s, on view at the Philadelphia Museum of Art through September. Experimentation in forms of process and earth art, as well as the employment of non-art materials, characterize the conjunction of visual culture and object-making that developed in these two cities. Read more at e-flux.
• Click here to read Peter Plagens’s entertaining account of his visit to Beijing to attend the conference “China Contemporary Art Forum 2010: What Happened to Art Criticism? Problems in Chinese and Western Art Criticism.” It seems the discussion diverted quickly from criticism to the censorship and control the state exercises upon China’s contemporary art scene, and included a Q&A “grilling” of a Chinese cultural official.
CAN Condensed
May 24th, 2010
• Through interviews with prominent Iranian female artists, Robert Adanto’s new documentary Pearls on the Ocean Floor examines the ways the younger generation of Iranians are forming a new cultural identity for their nation. The film reaches outside the cloistered and repressed stereotype of Islamic women, focusing instead on their compelling artistic responses to Iran’s continual national conflicts. For more information about the film, click here.
• A new exhibition at Britain’s Tate St. Ives, Object: Gesture: Grid: St. Ives and the International Avant-Garde, features the largest body of Collection work shown at the museum in over ten years. The show concentrates on the emergence of Modernist art in the seaside artists’ colony at St. Ives following WWII, and the relationship of the American and European ideas and practices that emerged there. Visit the Tate website for more information.
• The cities of New York and Turin are recognized as epicenters of Post-Minimalist sculpture in Forms of Contingency: New York and Turn 1960s-1970s, on view at the Philadelphia Museum of Art through September. Experimentation in forms of process and earth art, as well as the employment of non-art materials, characterize the conjunction of visual culture and object-making that developed in these two cities. Read more at e-flux.
• Click here to read Peter Plagens’s entertaining account of his visit to Beijing to attend the conference “China Contemporary Art Forum 2010: What Happened to Art Criticism? Problems in Chinese and Western Art Criticism.” It seems the discussion diverted quickly from criticism to the censorship and control the state exercises upon China’s contemporary art scene, and included a Q&A “grilling” of a Chinese cultural official.
Through interviews with prominent Iranian female artists, Robert Adanto’s new documentary Pearls on the Ocean Floor examines the ways the younger generation of Iranians are forming a new cultural identity for their nation. The film reaches outside the cloistered and repressed stereotype of Islamic women, focusing instead on their compelling artistic responses to Iran’s continual national conflicts. For more information about the film, click here.
• A new exhibition at Britain’s Tate St. Ives, Object: Gesture: Grid: St. Ives and the International Avant-Garde, features the largest body of Collection work shown at the museum in over ten years. The show concentrates on the emergence of Modernist art in the seaside artists’ colony at St. Ives following WWII, and the relationship of the American and European ideas and practices that emerged there. Visit the Tate website for more information.
• The cities of New York and Turin are recognized as epicenters of Post-Minimalist sculpture in Forms of Contingency: New York and Turn 1960s-1970s, on view at the Philadelphia Museum of Art through September. Experimentation in forms of process and earth art, as well as the employment of non-art materials, characterize the conjunction of visual culture and object-making that developed in these two cities. Read more at e-flux.
• Click here to read Peter Plagens’s entertaining account of his visit to Beijing to attend the conference “China Contemporary Art Forum 2010: What Happened to Art Criticism? Problems in Chinese and Western Art Criticism.” It seems the discussion diverted quickly from criticism to the censorship and control the state exercises upon China’s contemporary art scene, and included a Q&A “grilling” of a Chinese cultural official.