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The Virtual Gallery
Changes in the urban infrastructure have forced some galleries to close their doors and open virtual portals. It’s hard to say how many times I have scribbled my email address in a gallery’s little black book during visits over the years. Over this period of time I have also created several email accounts, so […]
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Intellectual Property Prints: We’re Not Making Posters Here– We’re Making Art
“The World’s Most Adorable Art Critic” Daniel Rolnik curates THE PRINT POP COLLECTION the first pop-up in the 34-year history of the Venice Art Walk. Visitors pay an admission fee for a wristband and a map that allows them to explore artists’ studios, take architectural tours and attend a silent auction. On Sunday, May 19, […]
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Kyle Fitzpatrick: A Well-Manicured Distraction
Editor of Los Angeles I’m Yours Kyle Fitzpatrick takes a walk through one of the cities most anomalous destinations. The Beverly Gardens park resists the definition of a traditional “park” because it’s a place to look and not touch; its manicured lawns are home to prized sculptures that are slowly decaying in the California sun. […]
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Jayme Odgers: Carded
Every card in Jayme Odgers‘ collection tells a story. They document his career as a graphic designer and reflect his fascination with language. Installation Magazine: Your art practice and typography is guided by a sophisticated grasp of language and presents information in a succinct, visual format. While your collection has documented decades of your career […]
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Robert Seidel: Handmade Shadows
Through experimental film, video projection and installation, Berlin-based artist Robert Seidel brings dimension and life to abstraction. The artist’s latest installation Tearing Shadows just concluded at 401contemporary in Berlin. Seidel is now preparing his first permanent installation Grapheme as part of a new wing for the Museum Wiesbaden. Installation Magazine: How did you arrive at video […]
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Chad Wys: Presence/Absence
Multi-disciplinary artist Chad Wys interrogates the infrastructure of art history. In appropriating the canon, Wys uses contemporary digital technology to intervene, and to siphon back through the history of art in order to extract kernels of information and misinformation. His practice is one of both revelation and obfuscation but leaves the meaning to be made […]