Art Fix Friday: October 15, 2021

Blog Category:  Art Fix Friday
A black-and-white photograph of a light-skinned adult woman holding a newspaper with news about World War II. She wears a coat and her short, curly hair is caught in the wind.

Anicka Yi’s Hyundai Commission, In Love with the Worldis now on view in Tate Modern’s Turbine Hall through January 16. The installation features jellyfish-like, heat-sensitive balloons that float around the hall, taking unique flight paths influenced by sensors positioned around the venue. Rooted in Yi’s interest in shifting the relationship between humans, technology, and the biological world, “her floating creatures imagine new ways that machines could inhabit the world alongside humans,” Artnet writes

In a large industrial hall, three mechanical orbs float in the air, each with a series of "legs" splayed out. Below them, a dark-skinned woman kneels next to a toddler and points up at the orbs in wonder.
Installation view of Anicka Yi: In Love With the World, 2021; Hyundai Commission, Tate Modern; Photo by Joe Humphrys, courtesy of Tate

Yi has also created what she describes as “scentscapes,” a combination of smells emitted into the space that will change throughout the weeks and are based on the history of the Bankside area surrounding the museum. The Art Newspaper examined the mechanics of the installation. The Guardian recently reviewed it.  

Front-Page Femmes: 

Ruthie Tompson, a pioneering Disney animator who worked on Snow White and the Seven Dwarfs (1937), has died at age 111

The Joan Mitchell Foundation has announced its inaugural fellows, including artists Chie Fueki, María Berrío, Margaret Curtis, Emily Gherard, and Angela Hennessy, among others. 

The Washington Post reviews Laurie Anderson’s The Weatherthe largest retrospective of the artist’s work to date, at Washington, D.C.’s Hirshhorn Museum.  

The Aldrich Contemporary Art Museum has announced a new exhibition52 Artists: A Feminist Milestone, an update to its landmark 1971 feminist art exhibition, opening June 4, 2022. 

For the BelieverElizabeth Greenspan writes a sweeping profile of Denise Scott Brown, a “grande dame of architecture,” as she works on a major book of more than 500 images, Wayward Eye

A color photograph from the 1960s shows the busy, colorful Las Vegas strip. The street is dotted with large sedans, and on the right, a strip of buildings is covered in large, multiple, signs advertising motels, wedding chapels, casinos, and more.
Denise Scott Brown, Las Vegas Car View of The Strip, 1968; Courtesy of the Believer

For Artnet, writer Roxane Gay explores the significance of Calida Rawles’s painting High Tide, Heavy Armor (2021), a work that “honors and communicates the realities of Black life…in unexpected ways.” 

Hyperallergic reviews Joan Mitchell at the San Francisco Museum of Modern Art. 

The New Yorker goes inside Georgia O’Keeffe’s Paris debut at the Centre Pompidou, considering the attitudes that kept the artist from achieving renown in Europe. 

Hyperallergic reviews Jean Shin’s Fallen at the Olana State Historic Site in Hudson, NY, an installation of a felled hemlock tree that the author had laid to rest and plans to cremate.  

Shows We Want to See: 

At the Institute of Contemporary Art, Miami, Chakaia Booker: The Observance is a comprehensive survey that showcases the artist’s skills across different media. Two series of paintings illustrate Booker expanding her vocabulary in acrylic on wood, canvas, and paper. Also included are works of bronze, ceramic, and plastic assemblage and two series of photographs of deserted city and industrial landscapes. On view through October 31. 

In a modern art gallery with light wood floors, a large circular sculpture of feathered rubber material sits in the middle of the room. On an adjacent wall, one large black-and-white photograph shows a dark-skinned woman in industrial dress sitting on a stool, her hand resting on a tire. Next to this photograph is an entire wall of many smaller photos featuring the same woman.
Installation view of Chakaia Booker: The Observance at the Institute of Contemporary Art, Miami; Photo by Zachary Balber

At New York’s Whitney Museum of American Art, Labyrinth of Forms: Women and Abstraction, 1930-1950 features more than 30 works—mostly smaller, and on paper—by 27 women artists who found freedom in experimenting beyond the bounds of the mainstream art establishment. Featured artists include Elaine de Kooning, Lee Krasner, Louise Nevelson, Hedda Sterne, Alice Trumbull Mason, Barbara Olmsted, and Dorothy Dehner. The Guardian recently reviewed the show. On view through March 2022.

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