Another young talent joins the most exciting generation of American designers we've seen in a long while. His work is stylish and intensely made, but tends to slouch into the room, as if it were no big deal.
Originally published with Hyperallergic, December 2017.
In 1996, at the age of 26, Anissa Mack entered every single category in the Durham Agriculture Fair. But there was a big difference between her and the other entrants, and it was not just the volume of her craftwork. Mack was making art.
Originally published in Art in America magazinein December 2017.
Paola Antonelli has described the MoMA exhibition “Items: Is Fashion Modern?” as a show of the “super normal.” Nearly every visitor will be wearing variations on the very objects that are on display. It is a risky project—and what it risks is being boring.
A photographer’s wagon stands stock-still, arrested in the midst of a long drag across the wide-open reaches of America. Four mules – famous for their bloody-mindedness – have swerved from their trajectory, doubling back along their plodding tracks. The wagon’s U-turn is marked in a great double sweep along the ground, a double swathe of sand displaced by the wooden wheels.
In the annals of overlooked artists, Grebenak is an extreme case. Working in an era when art world acceptance was hard to come by for women even in the best of circumstances, she doubled her marginality by choosing a medium that was relegated firmly to the “minor” arts. In the end, her work would be almost entirely erased from art history
There is an astonishing scene in the new documentary Do Not Resist, in which an enormous military vehicle drives slowly down a side street in a Wisconsin suburb. It is thickly armored, the color of desert sand, and the size of a tank—or for that matter, nearly the size of the houses it rolls past