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Slideshow: Highlights from the Taipei Bienniale 2014
09/10/2014
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: FairsReferenced Artists: Joan JonasShort Title : Highlights from the Taipei Bienniale 2014 Read full article here

Storm King Art Center's Fifth Annual Gala Honoring Alexander S. C. Rower and the Calder Foundation - October 8, 2014
09/10/2014
Language English Featured: 0Order: 0Author(s): Benjamin ParkSub-Channels: PartiesReferenced Artists: Alexander CalderShort Title : Storm King Art Center's Fifth Annual Gala Read full article here

Studio Tracks: Jake Dibeler’s Whacked-Out Playlist
09/10/2014
Studio Tracks: Jake Dibeler’s Whacked-Out Playlist“The music I use in my shows is so saccharine and modern and polished and pop, though I rarely listen to that kind of music on my own,” said Jake Dibler, who will perform “GOODBYE (Billy)” at American Medium in Brooklyn on October 11. (Prepare to be confronted: The artist compares it to “a slasher movie, a black metal pietà, a wrist broken from eternally waving goodbye,” culling “loud visuals of death, disease, sexuality, and raw humanity.”) Here, Dibeler shares a typical playlist, from P.J. Harvey to “Dutch analog lofi techno tape obscurity” and Skinny Puppy. “This is a pretty accurate list of what I’m listening to at any given point during the day,” he said. “The most disingenuous piece of my work is the music I use, so I like to think of my actual taste as influencing the other pieces: the dialogue, the movement, the emotional parts.” “Cherry Coloured Funk,” Cocteau Twins “The first two Cocteau Twins records were the best, but this song is so incredibly beautiful and such a great start to ‘Heaven or Las Vegas,’ which is a great album.” “Legs,” PJ Harvey“JUST LOOK AT HER. JUST LISTEN TO HER WAIL.” “Avalyn 2,” Slowdive“This song is in the intro credits to Gregg Araki’s ‘Nowhere,’ one of my favorite movies of all time. I like to space out to this on the subway, or if I ever decide to walk into the ocean until I drown I’d probably listen to this then, also.” “So Sorry I Said,” Pet Shop Boys and Liza Minelli“You guys, the Pet Shop Boys and Liza Minelli made an album together, and it’s literally perfect. I think this song is one of my favorites on the record, and also she looks beautiful in this music video.” “Deliver Me From Mine Enemies Pt.1,” Diamanda Galás“The lyrics of this song are from Leviticus, detailing ‘the law of the plague’ surrounding leprosy. Diamanda’s updated version deals with AIDS. She was part of the AIDS activism group ACT UP, and was very vocal about the ignorance the government and Catholic Church feigned during the AIDS epidemic. Diamanda performed this song topless and covered in blood at the Cathedral of St. John the Divine in NYC in 1990. Sister.” “No Police,” Doja Cat“I heard this song when I was in Los Angeles getting driven around a mountain to a party in a hot tub in some backyard overlooking a beautiful canyon. I hate LA, and this song is about popping pills, which is so boring, but I think it’s so syrupy and sexy and the only song in this list I’m actually incorporating into the show I’m currently writing.” “Icabod,” Trust“This Trust album is like when you have depression, and you take an anti-depressant, and it’s not really like the depression is gone, you’ve just got this filmy layer of joy on top of it, so it’s like the tragedy is still tragedy, but it doesn’t bother you as much. And the end of this song is so beautiful.”   “Blacks,” Xiu Xiu“Xiu Xiu is so perfect at making you think something is going to happen, and it does, but it’s a second later than it’s supposed to, so it’s really disconcerting, and I feel like that all the time.” “#5 10-7-98,” Arab on Radar“One time I was playing this in public and someone asked me to put on something ‘less dissonant.’” “LA Smoke Rings,” Laurie Anderson“If you haven’t seen Laurie Anderson’s ‘Home of the Brave,’ you absolutely have to. It’s one of the most incredible live concert videos ever made. This is one of my favorite of her songs. Also the tape-bow violin towards the end is out-of-control beautiful.” “No Compassion,” Tuning Circuits“The description on YouTube of this song is ‘1990 dutch analog lofi techno tape obscurity,’ which is dead accurate, and the entire Tuning Circuits album is out-of-control good.” “Cindy Sherman,” Borghesia “The Borghesia album ‘Clones’ contains music that was originally made to accompany video projections in the goth clubs they played at in the early ’80s.” “Stupid Cupid,” Connie Francis“There’s nothing quite like women singing self-deprecating love songs. I can’t get enough.” “Wastebasket Kid II,” Cynthia Dall“Dall died really young. Her music is incredibly beautiful and lo-fi. This song makes me feel like I’m floating.” “Assimilate,” Skinny Puppy“I’ve been listening to this since I was 12. The end.” Jake Dibeler performs “GOODBYE (Billy)” at American Medium on Saturday, October 10, at 7 p.m.; 424 Gates Avenue, Brooklyn, NY. Published: October 9, 2014 Read full article here

Oldest Art Unearthed in Indonesia, Churchill's Work for Sale, and More
09/10/2014
Oldest Art Unearthed in Indonesia, Churchill's Work for Sale, and More— Oldest Art Unearthed in Indonesia: The science journal Nature published findings yesterday suggesting that the world’s oldest art may not be in Europe after all. Found in a cave in Indonesia, these stencils of human hands have now been estimated to be at least 39,900 years old — besting European examples by around 2,000 years. “[This discovery] allows us to move away from the view that Europe was special,” said excavation team leader Maxime Aubert, an archaeologist at Australia’s Griffith University. “There was some idea that early Europeans were more aware of themselves and their surroundings. Now we can say that’s not true.” [Nature] — Churchill’s Work for Sale: Following the death of Winston Churchill’s last surviving heir, Lady Emma Soames, this past June, a number of items belonging to the former prime minister will be sold at Sotheby’s, including paintings Churchill made himself. Meanwhile, 38 of Churchill’s paintings are also being offered up to become public works, in lieu of paying an inheritance tax; the government is expected to rule on that measure next year. [Telegraph, BBC] — Kunstmuseum Weighs Gurlitt Gift: The Kunstmuseum Bern, to which the late Cornelius Gurlitt bequeathed his trove of possibly Nazi-looted art, has announced that it will decide on November 26 whether or not it will accept the gift. The museum’s board will make its decision based on a report analyzing “legal impediments to acquiring the collection” put together by Zurich-based lawyer Beat von Rechenberg. If the museum does decide to accept the gift, it would have the option of selling the works. [WSJ] — Norway Debuts Abstract Art Banknotes: Oslo-based firm Snohetta has designed Norway’s new, very artful money, which is apparently inspired by “the beauty of boundaries, based on the ideas of Peter Richter, the German physicist and chaos scientist.” [NYT] — Times Square Clean-Up Art: The Queens Museum wants to recruit 500 people to mop Times Square in the name of Chinese art collective Polit-Sheer-Form-Office’s performance art piece. [ARTnews] — Lucas Museum Update: George Lucas’s Museum of Narrative Art quietly launched a new website this week that seems to imply that, in addition to visual art, it will also be a “cutting-edge film presentation space.” [Chicago Tribune] — Actor Dennis Hopper was apparently not only an artist and collector but also a pack rat; his memorabilia, photographs, films, and more will be on view at the USC School of Cinematic Arts Gallery. [LA Times] — The European Network Against Racism released a statement blasting a Swedish artist for using his “satirical” work as a forum for hate speech — prompting the question, what makes art racist? [Hyperallergic] — In grant news, the Davidoff Arts Initiative announced that Alia Farid, Nuria Montiel, Cathleen Mooses, Mathilde Rosier, and Soledad Salamé will be the first five artists to take part in its new residency program in the Dominican Republic, while the Rema Hort Mann Foundation’s $10,000 emerging artist grants were awarded to Abigail DeVille, Sara Magenheimer, Dora Budor, Mary Simpson, Kameelah Rasheed, Maia Cruz Palileo, Cara Benedetto, and Yevgeniya Baras. [press release, ARTnews] ALSO ON ARTINFO Q&A: Kevin Moore On FotoFocus and Breaking Photography Out of Its Box Five Films Marina Abramovic and Lars Von Trier Should Make Together Romance and Horror in Martin Amis’s “The Zone Of Interest” Shady, Sensuous Figures: Alex Becerra at LTD Los Angeles Check our blog IN THE AIR for breaking news throughout the day. Published: October 9, 2014 Read full article here

Clément Rodzielski at Chantal Crousel
09/10/2014
Artist: Clément Rodzielski Venue: Chantal Crousel, Paris Exhibition Title: Fraises noires Date: September 6 – October 16, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of the artist and Galerie Chantal Crousel, Paris Press Release: Clément Rodzielski’s third exhibition at Chantal Crousel Gallery is an […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Q&A: Kevin Moore On FotoFocus and Breaking Photography Out of Its Box
09/10/2014
Now in its second edition, Cincinnati’s FotoFocus Biennial (October 8-November 1) brought on Kevin Moore, a New York-based curator, writer, and teacher, to fill the role of artistic director. Moore curated six core exhibitions for the biennial around the theme “Photography in Dialogue,” an idea that will be further explored during the biennial’s opening weekend with a keynote address on Civil War photography from Jeff L. Rosenheim, photography curator at the Metropolitan Museum of Art, and a performance by filmmaker John Waters. ARTINFO caught up with Moore just before the biennial’s opening to discuss his curatorial process, his Instagram-centric show, and his thoughts on the bounds of the photographic medium. How did you come to be involved with the FotoFocus Biennial? What drew you to it? I did a big show at the Cincinnati Art Museum in 2010 called “Starburst: Color Photography from America, 1970-1980.” It had figures in it like Steven Shore and William Eggleston. At the time, the museum director was courting me to be the photo curator, but I didn’t want to leave New York — or be a museum curator, really — so I just curated the show. Tom Schiff, who is the founder of FotoFocus, funded “Starburst,” and I met him then. And when the curator of photography, James Crump, left the museum a couple of years ago, Cincinnati lost its one photo curator, so Tom and Mary Ellen Goeke, who are the directors of FotoFocus, came to me and asked me if I wanted to be the curator at large for FotoFocus — which also meant to kind of be curator at large of different museums in Cincinnati, the Taft and the CAC [Contemporary Arts Center] as well. So that sounded like a pretty good gig to me. I liked Cincinnati a lot. It’s a city that is still distinct. It’s not just a kind of generic American city; it’s got its own history and personality. It’s a very old city, like Philadelphia, and it’s also a bit southern, which I find kind of interesting. They’re hungry for good shows, and they know the difference between some mediocre thing and a good show. Could you talk a bit about the “Photography in Dialogue” theme of this year’s edition? What is the dialogue between, and how do you see that manifesting through the program? I think the theme was kind of set by the first museum exhibition we placed, which was the Taiyo Onorato and Nico Krebs exhibition at the CAC. Those artists to me feel very much clued in by history — they very much respond to 1920s modernism and things like that, and also maybe Robert Frank’s road trips across America. Their work is very conscious of those traditions, but at the same time, they’re very much of the current generation. They’re very youthful and kind of manically creative. There’s a good bit of irony in it; there’s a good bit of delight in it. I’ve loved their work, and they haven’t had a show in the US until now, and I thought it would go over well. And even though it’s photographic in its basis, it’s got other elements as well: They have sculptures and there’s film or video in the exhibition; there’s a found piece. It just to me feels like the way contemporary artists work. It’s really harder and harder to say that someone is just a photographer. I’ve been often frustrated by the narrow, sort of ghetto idea of photography as this art that’s separate from everything else. For me, photography has always been so promiscuous, so involved with everything else — not just now. So I’ve been looking for ways of trying to think about how to integrate or reintegrate photography into the larger world of art-making, and to make its relevance to our lives clearer — and one of those things was to try to break it out of its little box. Other people have been doing this in different kinds of ways; the word “expanded” is a word that’s been used in photography for some time. But I thought if we said it was a “dialogue” that it might be a little more accessible as an idea. So the dialogue essentially is about contemporary photography and its own past, which you see for example in the Taiyo Onorato and Nico Krebs exhibition, but also in the David Sherry exhibition, which is his photographs with photographs by Ansel Adams and Carleton Watkins. It’s also a dialogue between photography and other mediums, which is in Taiyo and Nico’s show — sculpture and sound and film — and then there’s a big film exhibition that’s part of the biennial called “Screenings,” which was at Paris Photo LA back in April. Then, it’s also the idea of collaboration. It seems like a lot more artists are working these days in pairs or in groups — as corporations, almost. Speaking of the interaction between photography and film, the biennial is billed as a celebration of “lens-based art,” which would seem to encompass both. What’s the balance between the two at FotoFocus? It is a photography-based event, certainly, but I think that it’s just an attempt to say that photography is a very wide-ranging activity and that there is no one single narrow definition of what art photography is. So in the selection of different shows, including the film shows, I tried to go out of bounds a bit with artists who use other media, such as film It’s interesting what happens when you start going around and asking gallerists, “Does Wilhelm Sasnal do films?” And they say, “Why yes!” Because you never see these things exhibited. Film’s kind of in the dark; it’s not really out there in the gallery system much. So I sat in galleries’ back rooms and watched tons of films for six months and came up with my selection. What I found, though, was I could see that a lot of these artists had a history of photography or different bodies of photographic work in mind. For example, Slater Bradley, his film called “Sequoia” is an homage to Chris Marker’s “La Jetée,” which is of course a film from the 1960s, which is entirely composed of still images — a slideshow more or less. I would say that I’ve looked for ways to take the usual, expected photography exhibition and to let that kind of careen out of bounds a little bit, which I think is much more true to what photography is and where it’s going in the future. Aside from “Screenings,” was that the guiding principle behind choosing the other topics for these six central exhibitions you curated? I think one of the beauties of doing something like this is you can do it fast, and it’s much more of a think-on-your-feet exercise than it is curating a museum show, where you have a long lead time and everything is planned out years in advance, but then arrives kind of too late. I always feel museum shows, especially for contemporary art, are a little bit behind the moment. I think for me, the beauty of it was being able to grab at things that I saw happening. I was looking for a range of things that could satisfy lots of visitors but also engage this idea of photography as something that’s a little bit hard to cage. So I think putting it all together was kind of an intuitive exercise, but I think there’s a good range there, and I think there are some challenging things — more intellectually challenging things and less intellectually challenging things, at least on the surface. In that vein, can you talk a bit about the genesis of the Instagram-based exhibition FotoGram@ArtHub? Do you think Instagram has a real effect on art photography — positive or negative? I come at social media in general with a lot of skepticism, even though I’m very kind of populist in my thinking about things. Instagram is the first social media tool that I’ve actually become interested in and started using and look at obsessively and those kinds of things, and I find it a little bit disturbing. For example, I follow my 12-year-old nephew on Instagram. He’s out in Seattle, and he’s posting selfies all the time — like, “here I am sitting at my desk,” “here I am making a face.” I said to my sister, “I think you should have a discussion with him about selfies and narcissism.” But you know, all young people are doing that now. So I guess the other question is, “Are there legitimate artists being born on Instagram?” And there are people with tons and tons of followers for taking a picture of beautiful sky and things like that, and that all seems to me incredibly kitsch. But it’s a phenomenon that’s happening. They’re getting a bigger following than legitimate curated art exhibitions, so I find the whole thing a big question mark. I think that what we’re trying to do is to set up something that’s kind of an experiment. And at the end of the week, on Saturday night at five o’clock, will be a panel discussion about that exhibition and social media and its impact on art photography proper. The people on the panel are from very different perspectives, so it’ll be interesting to see what happens at that discussion. Do you think that the availability of camera phones and photo-editing tools like Instagram is making more photographers, or is that just producing a greater glut of images to wade through? I think the latter. I think it becomes increasingly important in life to have people who are editors and curators. It’s almost gotten to the point where it’s not just true of photography but everything — that it’s not so much looking to people who are making cool new stuff, it’s looking to the people who can sort through the stuff and put together a core, meaningful, beautiful mass of things. Given the series of questions like that in photography — from “is it art” to worrying over digital to Instagram — do you have any thoughts as to the next major photographic “crisis” on the horizon, or are we still too enmeshed in this one? Yeah, I think we’re just kind of getting on the horse with this wave of technology. “Crisis” is the right word, though, because I think in the history of photography, there’s always been this hysteria around changes in technology, and I always say that it’s a thinly masked hysteria about our anxieties about changes in the world in general. There was a moment in 2008 where I remember there were all these conferences about “Is photography over? Is photography dead?” They had all the experts in the world to discuss this crisis in the medium, and to me it just seemed so ridiculous, because the technology’s always been changing, and it’s just emblematic of larger shifts in technology, which always make people nervous. I think that it really jars our sense of reality and grounding and tradition to address these changes, but maybe part of the way that we work through it is by adapting to the new technologies and talking about what it means. Q&A: Kevin Moore On FotoFocus and Breaking Photography Out of Its BoxSelect Photo Gallery: Slideshow: View Featured Photos from the FotoFocus Biennial 2014Published: October 9, 2014 Read full article here

Slideshow: View Featured Photos from the FotoFocus Biennial 2014
09/10/2014
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: FairsReferenced Artists: Vivian MaierRyan McGinleyShort Title : View Featured Photos from the FotoFocus Biennial 2 Read full article here

Two Films Focus on Homelessness in New York City
09/10/2014
Two Films Focus on Homelessness in New York City“Heaven Knows What” and “Time Out of Mind,” two films that screened recently at the New York Film Festival, both deal with homelessness on the streets of Manhattan and form an interesting duo, aside from their shared subject matter. Directed by the Safdie brothers and Oren Moverman respectively, both films take different approaches to the main characters and their situations, and meet somewhere on the dividing line concerning what it means to be all alone and fending for yourself.  “Heaven,” the more immediate and intense of the two films, follows the heroin addicted Harley (Arielle Holmes), who stalks the streets with madcap intensity and professes her love for Ilya (Caleb Landry Jones), another street kid who might not share the same feelings. The film is based on the unpublished memoirs of Holmes, and does not shy away from displaying the harsh realities of her life. Within the first five minutes, Harley tries to slash her wrists, and the rest of the film moves forward at a chaotic, frenzied pace, as if the viewer is stuck in an echo chamber filled with violent screams. “Time” is a much quieter and meditative affair, following the aging alcoholic George (Richard Gere) as he wanders for blocks at a time and eventually gets pushed into the shelter system. Moverman is interested just as much in George as he is in George’s surroundings, and makes sure to capture the life that is constantly swirling about. We hear snippets from passing conversations and music blasting out of apartments, and see the reflections of people in windows going about their daily grind — and no one looks down to see the man sitting on the sidewalk at their feet. The films’ differences don’t rest on a mainstream versus independent binary. While “Time” certainly had a bigger budget than “Heaven,” and the presence of Gere will help its chances financially when it arrives in theaters, this is not displayed anywhere on screen. In fact, visually both films use a similar, long-lens shooting style which dwarfs their characters within the mass of bodies that surround them at all times. Narratively, we also get similar approaches — we never find out exactly how Harley or George ended up on the streets and little of their backstories are revealed or explained. The focus is on the here and now, but only to a point. Both films have something to say, and this is where they diverge most strikingly. “Time” is a film that condemns — the residents, the shelter system, and the government — and because of that has redemption on its mind, even if it’s on a small scale. A glimmer of hope needs to be available for George, something we can root for, and it arrives in the form of his estranged daughter (played by Jena Malone). What George needs most, the film seems to be saying, is to reconnect with the family he left behind — life is not worth living without a little love. There is no hope for the characters in “Heaven.” When things seem to be getting better, something worse happens. When we think they’re going to be making a bad, even dangerous decision, they turn around and make an even worse one. It’s hard to imagine them getting out of this world alive. Incidentally, this makes the film more powerful, and more human. You care for these characters more because their situation is hopeless and so real. They don’t have a family they can pine for or good friends to watch their stuff in the shelter. They have buddies who will steal everything they have as soon as they turn around for a quick fix, who could drive them to the brink of insanity or even death. Life on the streets is hard and society provides little to help. It’s a problem that we constantly walk right past. That’s on full display in both “Heaven” and “Time.” But one film is trying to make a statement about homelessness and its effects and the other is simply displaying truth, as it exists.  Published: October 8, 2014 Read full article here

Romance and Horror in Martin Amis’s “The Zone Of Interest”
08/10/2014
Romance and Horror in Martin Amis’s “The Zone Of Interest”Martin Amis’s “The Zone of Interest” (Knopf) is set in a concentration and labor camp in Poland, toward the tail end of World War II. It’s a science-fiction landscape, or should’ve been, had it not actually existed — a place German firm I.G. Farben used as a free-for-all laboratory; a place governed by a murderous illogic that even some of its facilitators often can’t seem to fathom. Amis relays his narrative through a handful of characters, all possessing various degrees of culpability. There’s Thomsen, a relative of Hitler’s secretary Martin Bormann, who pretends to work for the cause while secretly attempting to ruin it; Paul Doll, the camp’s commander, a bitter, brutal, sexually frustrated troll; Szmul, of the Sonderkommando, a group of Jewish inmates who are able to survive longer in the camp by collaborating with the regime (“We are in fact the saddest men in the history of the world.”). What makes “Zone of Interest” unique is the romance threaded through it — a nascent relationship between Thomsen and Hannah Doll, the commander’s wife. Still, there’s nothing sentimental about it: love does not save the day, nor impart any lessons. It is never a counterbalance to horror. While “The Zone of Interest” is explicit in its depictions of Nazi crimes, we experience few of these in real-time within the novel. What we get are remnants — literally, in the case of a field of decomposing bodies — or foreshadowings (the awful selection process on “the Ramp,” where the trains first arrive with their heartbreakingly optimistic human cargo). Life in the camp, for its administrators, oscillates between a surreal nightmare and the mundane technicalities of bureaucratic bookkeeping. The regime’s lackeys worry over memoranda demanding conflicting goals — more dead prisoners, higher labor output — or they argue about whether or not lessening the top-down hierarchy of punishment might improve the inmates’ work (“The chain of violence — everyone’s aquiver with it.”). But most often, and most affectingly, Amis’s characters prove themselves to have the most common of urges, even knee-deep in the killing fields: Sex, and, occasionally, its emotional trappings. In this regard Paul Doll is both Amis’s most interesting and despicable protagonist, a base tangle of gross need, anxiety, and violent striving. He feels the need to constantly remind the reader of his averageness — “in the matter of the carnal urge, as in everything else, I am completely normal” — and ticks off bloody Third Reich achievements as if adumbrating his resume to the devil. His wife, Hannah, plans a sabotage of her own: one that is personal, and domestic, and focused purely on pushing her husband to the brink. Thomsen wavers between his supposed project to destabilize the camp and his own attempt to cuckold his commander. (In between he visits with his “Uncle Martin,” a pompous fool and Hitler sycophant jockeying to climb the Nazi ladder.) What “The Zone of Interest” lacks is the unrealistic sop of redemption. No one improves; very little gets better. Toward the end of the novel Paul Doll opens a chapter with a stunner: “I’ve come to believe that it was all a tragic mistake.” But read on: “Lying in bed at dawn, and readying myself for yet another immersion in the fierce rhythms of the KL (reveille, washroom, Dysenterie, nenten, work teams, Stucke, yellow star, Kapo, black triangle, Priminenten, work teams, Arbeit Macht Frei, brass band, Selektion, fan blade, firebrick, teeth, hair), and facing 1,000 challenges to my rictus of cool command, I turn things over in my mind and, yes, I’ve come to believe that it was all a tragic mistake — marrying such a large woman.” “The Zone of Interest” begins with intimations that this might be a story of heroism, or of brilliant and brave subterfuge, or of love-conquering-all. Instead what we get are obstructionists who almost try to make a difference; romances that are increasingly disgusting against the backdrop of atrocity. When Thomsen tracks down Hannah after the war, he’s now working with the Americans to assign Nazi blame. With some sleuthing, he finds her, and attempts to rekindle, in 1948, what he thought they had experienced together in the camp. “It’s simpler than that,” she retorts. “You and me. Listen. Imagine how disgusting it would be if anything good came out of that place. There.” Published: October 8, 2014 Read full article here

Tony Greene at Schindler House MAK Center
08/10/2014
Artist: Tony Greene Venue: Schindler House MAK Center, Los Angeles Exhibition Title: Room of Advances Curated by: Judie Bamber and Monica Majoli Date: June 18 – September 7, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Schindler House MAK Center, Los Angeles, Peter Norton, […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

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