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This richly illustrated volume offers an in-depth look into artist
Sadie Benning's exhibition Shared Eye, presented at the Renaissance
Society and the Kunsthalle Basel. The forty mixed-media panels in
Shared Eye defy easy categorization: they include collage,
painting, photography, and sculpture. The seriality of the
installation also nods to the artist's history with the moving
image. Throughout the 1990s, Benning created an extraordinary body
of experimental video work, improvising with materials at hand and
a toy camera. More than two decades later, in Shared Eye we see the
handmade aesthetic, grainy imagery, and durational logic of
Benning's early videos take on different forms to correspond to our
current moment. The catalog documents the exhibition in full color,
and it features an interview between the artist and Julie Ault,
essays by John Corbett and Christine Mehring, and an introduction
by the Renaissance Society's executive director, Solveig Ovstebo,
and Elena Filipovic, director of Kunsthalle Basel. These texts
provide illuminating framework for the exhibition and key insights
into how Benning pushes the limits of abstraction in response to
our present political climate.
In a supportive article covering the 4th Berlin Biennial, critic
Steven Henry Madoff took a moment to question what many have termed
"Biennial Fever," writing, "Are [biennials] here to capture trends
or to advance artists' voices in a larger social dialogue? Do they
promote international understanding or local interests? Are they
bully pulpits for curators turned ideologues, or are they simply
there to tap the art market's stopwatch till the next survey of hot
new things draws the attention of an ever expanding universe of
collectors?" For the 2008 edition of this always-provocative
international fair, Curators Adam Szymczyk and Elena Filipovic
brought together primarily newly commissioned work by 50 emerging
and established international artists for a round-the-clock
exhibition that included 63 nightly events. This expansive volume
documents it all, and contains contributions by writers, critics
and artists including Beatriz Colomina, Bettina Viesmann, Cameron
Jamie, Gabriel Kuri, Babette Mangolte, Ahmet Ogut and Katerina
Seda.
Drawing on unpublished documents and oral histories, an illustrated
examination of an iconic artwork of an artist who has made a
lifework of tactical evasion. One wintry day in 1983, alongside
other street sellers in the East Village, David Hammons peddled
snowballs of various sizes. He had neatly laid them out in
graduated rows and spent the day acting as obliging salesman. He
called the evanescent and unannounced street action Bliz-aard Ball
Sale, thus inscribing it into a body of work that, from the late
1960s to the present, has used a lexicon of ephemeral actions and
self-consciously "black" materials to comment on the nature of the
artwork, the art world, and race in America. And although Bliz-aard
Ball Sale has been frequently cited and is increasingly
influential, it has long been known only through a mix of
eyewitness rumors and a handful of photographs. Its details were as
elusive as the artist himself; even its exact date was unrecorded.
Like so much of the artist's work, it was conceived, it seems, to
slip between our fingers-to trouble the grasp of the market, as
much as of history and knowability. In this engaging study, Elena
Filipovic collects a vast oral history of the ephemeral action,
uncovering rare images and documents, and giving us singular
insight into an artist who made an art of making himself difficult
to find. And through it, she reveals Bliz-aard Ball Sale to be the
backbone of a radical artistic oeuvre that transforms such notions
as "art," "commodity," "performance," and even "race" into
categories that shift and dissolve, much like slowly melting
snowballs.
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