Tag Archives: MCA

Monday 06/19 2017
The MCA and Facebook Messenger Bring Murakami to the Masses

“Chicago’s Museum of Contemporary Art (MCA) is collaborating with Facebook to bring the art of Takashi Murakami to all of the users of the social network’s Messenger feature. The team-up, which kicks off the Cannes Lions Festival, allows users to snap photos with special “frames” incorporating Murakami icons Mr. DOB and the smiling daisies, as well as the octopus created to coincide with his MCA summer retrospectiveTakashi Murakami: The Octopus Eats Its Own Leg. The partnership is the first of its kind between a museum and Facebook, i.e., creating something interactive rather than just ad space.

‘We are excited to work with the MCA and Takashi Murakami to bring to our community these special, exclusive, first-of-their kind tools to connect with the people they love,’ Facebook’s Head of Messenger, David Marcus, said in a press release. ‘The work of the team at the Facebook Creative Shop has been both thoughtful and playful, and we can’t wait to see how people interact with their own small piece of Murakami art!’”

Read the rest at Creators

Tuesday 02/14 2017
Water into Glass, Steel into Flesh

In the hall outside the main space, an array of paint cans—actually wood, and liable to tip right over if one bumps them—sit on nightstands, surreal vignettes within and around them (a Hockney scene post-summer, leaves and furniture in a tiny empty pool in a drawer; a potato which wanders the wall like the world’s starchiest spider) suggesting the kind of sleep-deprivation-derived trompe l’oeil one gets in a dawn-lit bedroom after a prolonged coke binge, something just beyond the playfulness of his material alchemy and with the slightest soupçon of strange menace, the uncanny power of trompe l’esprit.

Read the rest of my review of Chris Bradley’s show in Newcity

Monday 01/2 2017
Developing the Future in Tear Gas Remedies

“The installation A 240 Second Analysis of Failure and Hopefulness (with Coke, Vinegar, and other Tear Gas Remedies) consists of 160 color slides shown on two synchronized slide carousel projectors. It is a slideshow of the urban life cycle: building gets knocked down, new building gets put up, until it becomes old and/or unwanted enough or its land becomes desirable enough to have it get knocked down again. [Basim] Magdy’s films were bathed in Coke, vinegar, and tear gas remedies, in a process the artist calls “pickling,” resulting in otherworldly blues, pinks, and greens with the hazy buzz of old 3D images or ancient photos.”

Read the rest in The Creators Project

Friday 07/1 2016
Commercials for Communism

“Seeking to illuminate the West’s blind spot for Southeast Asia, the Ho Chi Minh City art collective-cum-advertising company The Propeller Group produces ambitious multimedia projects through artifacts, videos, and sculptural works … The Propeller Group delves into deep issues with surprising approachability, something that can be credited to their experiences in the commercial realm. Free of haughty abstraction, they seek to make art that is both powerful and easy to grasp.”

Read the rest of my preview of The Propeller Group’s solo MCA show at The Creators Project

Saturday 04/9 2016
A Conversation With the Mastr

“It is an effort to combat the lasting, damaging impacts of underrepresentation. “You pick up art history books and they are always talking about those people, and it’s the same people from book to book to book,” Marshall explains. “At a certain point, it induces this notion that you are not one of those people that do great things.” Marshall’s technical proficiency is at once a wink at the sacred Western canon and the creation of his own—in essence, the redefinition of art history.”

Read the rest of my interview with Kerry James Marshall at The Creators Project

Thursday 11/19 2015
Art for Art’s Sake

“The [MCA's] design team of course does more than implement the new identity; they also create the labels for exhibitions, the layout of the member magazine and some of the museum’s catalogues, the website and press materials, including releases and the exhibition-specific, often gorgeous folders they come in. The David Bowie Is design, created by Wilner, is particularly wonderful, brilliant red with an iconic blue thunderbolt crashing across its front, screaming down from glam empyrean; think Hephaestus sloshed on Sherwin-Williams.”

Read the rest at The Creators Project

Wednesday 09/23 2015
Concrete Tongues

“It is Jaworska’s sculptures, however, which most eloquently translate the construct’s tongue, set within a luxurious space evoking a bistre jewelry box, skeletal elements in pragmatic black apparently lifted directly from a sketchbook … Our noble, supplicant towering beasts are revealed for what they truly are—massive but subservient chevaux de frise against the void—in “Monument for Them,” which puts a beast on its knees for nothing but a charmingly simple salutation.”

Read the rest of my review of Ania Jaworska’s MCA exhibition at Newcity

Monday 12/29 2014
Ugly Space

“Space rhetoric cannot help but be romantic; the gaps are so wide, the voids so vast—and filled, with cruel meagerness, by objects we laughingly named for gods—that the only way it can be comfortably expressed and understood is through either math or poetry, both of which are known for their simple complexity and necessary shattering of the real into vicious abstractions.”

Read the rest of my review of Sarah and Joseph Belknap’s eponymous MCA exhibition at Newcity

Friday 06/6 2014
William J. O’Brien/MCA

“This, these 120-plus works, organized into stanzas and spanning four dimensions, is exhibition as Legion, as Leviathan, as Lil B mixtape; color, form and shape in biblical proportions, driving amphibian rains and sloughed scales and torn shrouds … “

Read the rest of my review of William J. O’Brien’s Museum of Contemporary Art retrospective at Newcity