"I don’t think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history." —Kara Walker

New episode from Art21’s Exclusive series: An in-depth look at the creation of Kara Walker’s monumental public project for Creative Time, A Subtlety, or the Marvelous Sugar Baby (2014), at the Domino Sugar Factory in Brooklyn, NY.

WATCH: Kara Walker: “A Subtlety, or the Marvelous Sugar Baby”

IMAGES: Production stills from the Art21 Exclusive episode, Kara Walker: “A Subtlety, or the Marvelous Sugar Baby”. © Art21, Inc. 2014.


Troy Coulterman

1. Digesting

2. Nimbus Emanation

3. Grey Matter Nova

4. Falling Visions

5. I Want to be new to this world

6. Vacuumed Thoughts

7. Musing Nebula



Esther Ruiz

Rock Technology (2010)

Laminated Wood / Spray Paint / Hardware


Esther Ruiz

Concrete Setting XXXII (2011)

Concrete / Plexiglas

Adham Faramawy

Work from his oeuvre

“Adham Faramawy is an artist who explores changes in perception brought about by the digital age. For this exhibition the artist poses questions around media consumption and the persuasive potential of advertising to reflect and reproduce images of ‘well being’.

Across a landscape of high definition flat screens and sculptural wall and floor works, bodies flex, exhale, and exfoliate to the sedative tone of synthesized audio. Manipulated digitally, where tactile surface interplays between liquid planes, Faramawy shoots staged live performers often using his smart phone, a device, which is symptomatic of a contemporary syndrome of immediacy. Interested in erasing the boundaries of production and presentation the artist accelerates the speed at which live footage can meet the digital screen allowing it to be mediated by the mechanisms of the more familiar filter through which we visualize and conceptualize. Routines of banal choreographed workouts and rejuvenating skin treatments are played out, one on one and up close to the screen, performers often neoprene clad or waxed and polished naked. Carefully staged where human exchange can be computer-mediated, these subjects carry with them the isolated remoteness of the online experience.

For Hydra water is constructed as a luxury product and is abundant. Digital pixels and meditative sound sublimate water into a fetishized fluid counterpart, heightening it’s potential to heal and regenerate thus playing into the increasing anxiety over it’s potential scarcity. Points of hydration or drowning are continuous dichotomies throughout the new body of work, either by performers constantly feeding an unquenchable thirst by drinking water from plastic bottles in post-rave thirst aftermath, or by the animated image dissolving into digitized rippling screens.

As with previous presentations Faramawy will present a series of 3D and 2D works; leaning digital flat screens and cuboid podiums will occupy the space. Paint and pixel oscillate, with surfaces counterpoising colour schemes that reproduce screensaver gradients, proxies for the digital treatment of live footage.  Despite the self-containment of wall and video work the question of which section is ascendant – which is background and which is foreground is open-ended. The artist draws us into an examination of formal points of contact between the physical and non-physical, directing us towards aesthetic histories to bring subjectivity and primacy of experience to the fore. All works are bound together in a sealed world, each requiring the other, their liquid relationship to be read as flowing and symbiotic.”

text from recent exhibition at Cell Project Space



Amie Dicke

I was more impressed by the concepts behind Amie Dicke than the actual sculptures, which merely functioned to visually represent her brilliant conceptual thinking. The first piece I saw from her was the bedroom scene made up of things that were laying around her house which had very strong emotions and memories attached to them. She then loaded up sprayers with liquid cosmetic foundation and proceeded to coat her scene and belongings in the face make-up. The metaphor of covering up memories and especially those which are painful and have made you who you are is presented as a coping mechanism and our way of hiding who we are from the world. The tea cabinet full of the assorted furs made me think of the sick obsession we seem to have with killing animals for personal wealth and gain. I thought that her sculpture covered in heat-insulating blankets was unique, as well as the bust covered up by zip-ties.


Kiki Smith - Lilith, 1994 - Bronze, silicon, and glass.

"In medieval Jewish lore, Lilith was Adam’s first wife.  When she demanded to be Adam’s equal, she was evicted from the Garden of Eden.  Lilith flew away to the demon world, replaced by the more submissive Eve.  Smith catches us off guard with Lilith’s pose and placement.  Most sculptures receive our gaze passively, but Lilith stares back with piercing brown eyes, ready to pounce."

(via maskingtapepoetree)



Baitogogo by Henrique Oliveira. Palais de Tokyo, Paris

(via villenoire)

The Speakers (Voice Box)


Lucie Stahl

Untitled, 2005

(via feeblyy)


Delve deep into the unique world of Erwin Wurm's home and workshop in the Austrian countryside in this week's T Magazine.

(via belacqui)