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With The Decline and Fall of the Art World, Part I: The One-Percenters, Freight + Volume assembles several subversive gestures that expose the various dysfunctions and inequalities of contemporary art production.
Artist and writer Ian Wallace recently remarked that we hear a lot about Artschwagerian wit, but theres never been much of an attempt to define it. We could approach Sculpture after Artschwager, a modest selection of post-war objects at David Nolan Gallery, as an attempt at such a definition.
One of the current predicaments of art was recently captured in a statement by media theorist Alexander Galloway. Speaking at the book launch of e-fluxs The Internet Does not Exist, Galloway proposed that, contrary to the aspirations of the art of the modern period, art today isnt really operating as a vanguard.
Jason Dodge, an American artist living in Berlin, works in a conceptualist style with a narrative twist (some call it poetic) that has worn well throughout the biennial circuit.
In 1971 Vito Acconci performed “Seedbed” at Sonnabend Gallery. The artist masturbated for hours at a time beneath a low ramp built upon the gallery floor while patrons walked above. Acconci’s provocative statements played over speakers, establishing an environment of threatening sexual presence.