Perhaps nothing provokes such instantaneous spectacle as surely as terrorism
In the age of the infinite scroll of Tumblr, Selichi Furuya installs a wheezing slide projector in a corner of Galerie Thomas Fischer in Berlin.
For all the spectacle that “Cloud Cities” produces—including bouncing children, uneasy parents, and stern security guards—it is a particularly spectacular example of how contemporary art goes awry.
It’s painfully funny how the visitor’s approach to the museum and the tourist’s plan for a city mirror one another.
We can add the art space—gallery, museum, or art fair—to the list of universal institutional non-spaces like airports and hotel chains.
“Tangible Things” includes both a stand-alone exhibit in the Science Center and guest objects—things taken from their expected locations and shunted into new settings and collections throughout the campus.
The perceived function of fashion is an inherent contradiction—oscillating between an artificial construction to be utilized, recycled, and disposed of by the individual, and a means for self-expression.
Open any of the email promotions sitting in your inbox, flip through any of the standard fashion magazines from Vogue ...
Biannually hundreds of industry leaders travel to four cities for a month of back-to-back shows in multiple venues, models are rushed in and out of shows for drastic makeup, hair, and outfit changes, and designers obsess far in advance over music, theme, seating arrangements, and venue for a 20-minute presentation
Though the majority of consumers now have access to designs that otherwise would be unavailable due to the extravagant costs of high-end designers, it also exploits a gaffe in the fashion system and cheapens the originality of the designer’s products.
High fashion is often synonymous with over-the-top decadence—one night party dresses, gold gilded fur, and articles of clothing that cost a month’s paycheck. But in this troubled economy, many designers have reeled back the extravagance.
Eleganza, Identities, and Project East follow trends of cultural appropriation while redefining the relationship between fashion and the minority community.
Working her way through the legacies of conceptual and appropriation art, Andrea Fraser, an artist and UCLA art professor, uses performance and video to engage in institutional critique—the investigation and questioning of the structures and dynamics of the art world.
“I don’t think I’ve ever seen a Princeton student smoke, but just look at all of you here,” remarked Jeffrey ...