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EXPO CHICAGO/2014
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NOVEMBER // IN REVIEW


JOSH SMITH // LUHRING AUGUSTINE
by Josh Reames

While in New York, I had the pleasure of seeing Josh Smith’s current exhibition at Luhring Augustine â€“ self-titled and split between both the Chelsea and Bushwick locations. Though they are considered one single exhibition, the two shows are strikingly different. In Chelsea, Smith mounts a series of austere, brushy monochromes on panels of the same scale.
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ON THE THEORY OF THE INVISIBLE
by Tara Plath

“For Kandinsky, white was the color prior to all things; it was the place of the possible, where everything can and will be born”[1] writes Michael Henry, in his book Seeing the Invisible, on Kandinsky. While it is possible to consider such infinite potential of the symbolic understanding of a color, these considerations become firmly grounded the moment an artist decides to engage with the subject matter white. There is a considerable lineage of artists who have delved into such a subject: French artist Laura Lamiel is not the first, nor will she be the last.
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SCOTT REEDER // LISA COOLEY
by Nadiah Fellah

Humor and irreverence mark Chicago artist Scott Reeder’s new exhibition of paintings and sculptures at Lisa Cooley in New York. In People Call Me Scott, many of the text-based works in the show read like punch lines, spoofing on the seriousness of the art world, exhibition titles, and process art. Reeder also pokes fun at minimalist and conceptual artists with abstract, crumpled forms rendered in aluminum that dot the floor of the gallery – evocative of John Chamberlain or Frank Gehry’s sculptures – entitled Bad Ideas.
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BEAT NATION // MUSÉE D’ART CONTEMPORAIN DE MONTRÉAL

by Tina Gelsomini

On the heels of the international indigenous solidarity movement IDLE NO MORE, first sparked by four women in Saskatchewan in the fall of 2012, the Musée d’art contemporain de Montréal has programmed a timely and eclectic exhibition of aboriginal art from across the continent, first shown at the Vancouver Art Gallery.  Taking its cue from the subversive and norm-challenging framework of hip hop, whose roots are grounded in voicing the marginalized, Beat Nation: Art, Hip Hop and Aboriginal Culture encompasses a wide variety of multi-platform works, combining aspects of urban and rural life, as well as contemporary mainstream culture and traditional aboriginal culture – often to create potent, politically-charged works, that are also unique, reflexive, and playful.
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A ROLLING HOME // MIKE KELLEY'S HOMESTEAD VIDEOS
by Marianne Templeton

Turning onto Michigan Avenue, Mobile Homestead blows a tire. The house—neat white clapboard with blue trim, the symbol of both the rise and fall of the American dream—has just been launched in the vacant block behind the Museum of Contemporary Art Detroit (MOCAD), where Mike Kelley had staked a claim for a multi-purpose community and arts space in the guise of a replica of his family home. In its truncated form on the back of a semitrailer, Mobile Homestead was only minutes into its first civic duty—to deliver donated groceries to a food bank—when the breakdown occurred.
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JOSHUA ABELOW // JAMES FUENTES
by Josh Reames

Joshua Abelow recently closed his second solo show at James Fuentes in New York. The exhibition, entitled ABELOW ON DELANCEY, features a new series of paintings and drawings. As one can expect to see from Abelow, there is a lot to look at –paintings on canvas and burlap, as well as framed pencil drawings fill out the space in his signature, serial manner. His simple, wavy stick figures painted over metallic backgrounds, or wonky chevron patterns, are a figurative version of his older series of “DUMB AND EASY” text paintings exhibition at Tomorrow Gallery in 2011.
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GALLERY 400 // IT'S THE POLITICAL ECONOMY, STUPID
by Alexandra Kadlec

Art rarely provides answers, but rather questions, confronts, and challenges its audience. Often, it is done subtly – and at other times, it is in an emphatic, booming voice. Such is the case in Money to Burn, a videotaped performance shown as part of Oliver Ressler and Gregory Sholette’s co-curated exhibition, It’s the Political Economy, Stupid, currently on display at Gallery 400. Staging the atmosphere of the exhibition, Dread Scott’s video piece, just one among a dozen others in the internationally focused multi-media exhibition, depicts a performance that appeals to passersby on Wall Street in lower Manhattan, with the shout and query, Money to burn! Does anybody have any money to burn?
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INTERVIEW WITH STEVE SACKS // BITFORMS
by Dominique Moulon

In 2001, Steve Sacks founded Bitforms gallery in New York, on 20th street in Chelsea. Since then, Sacks continues to explore new media territories, participating in some of the largest contemporary art events around the world.
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2013 CARNEGIE INTERNATIONAL
by Robin Dluzen

It may contain a modest 35 artists, but that doesn’t mean that the 2013 Carnegie International doesn’t cover a lot of ground. Work is installed everywhere in the Pittsburgh museum: outdoors, amongst the permanent collections, in the white walled exhibition galleries and the unusual architectural corners and clearings of the building. Besides the appropriate but broad curatorial declaration that “art illuminates everyday life in all its beauty, imperfection, and comedy,” the 2013 Carnegie International Curators Daniel Baumann, Dan Byers, and Tina Kukielski composed this year’s exhibition without a definitive, centralized theme, but instead a flexibility that allows for separation into more easily digestible parts, and the freedom to play with context. 
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Image up top: Installation view of Nicole Eisenman’s paintings and sculptures in The Hall of Sculpture Balcony.
2013 Carnegie International. Image courtesy of the Carnegie Museum of Art.

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