Claire Fontaine is at once the contemporary every-artist and a non-existent fictional subject. She enters object-oriented contemporary practices incognito not only to symptomize our current political conditions but also to challenge ideas of art’s capacity for social change.
Laura Elizabeth Barone explores Chicago-based Meredith Zielke and Yoni Goldstein’s painstakingly detailed three-channel video installation entitled The Jettisoned at Los Caminos Gallery.
For Mary Magsamen and Stephan Hillerbrand, art and life become one.
This year, The Chinati Foundation is celebrating its 25th-year Anniversary (1986-2011). The following conversation was recorded by Sarrita Hunn and Ryan Thayer shortly after visiting the museum this past August.
At Los Caminos, curator Cecilia Vargas presents four contemporary artists’ responses to how and why we view romantic love the way we do, offering insight and questions into how our own disillusionment plays out in actual relationships.
Drag, Rape Gaze. Ghost Drone. Zombie Rave. Goth-Juke. Grave-Wave. These, and endless other, illustrative and occasionally vulgar terms describe what many call Witch House, a genre of geographically unhinged electronic based music. This is the first in a series of essays on Witch House music featured throughout October.
The Museo Nacional Centro de Arte Renia Sofia in Madrid is the controversial home of Picasso’s “Guernica.” Controversial, because Picasso asked in his will that the painting be housed at the Prado, but at the smaller Renia Sophia “Guernica” lords over the rest of the collection like a fat black…
Over the past year, a number of apartment galleries, alternative exhibition spaces and new curatorial platforms have emerged out of the active St. Louis arts community. One of the most consistently lauded of these has been Los Caminos, a small but significant apartment gallery overlooking Cherokee Street.