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MOUSSE.

MOUSSE.
The Museum of Contemporary Art (MCA) Chicago presents Chicago-based multimedia artist William J. O’Brien’s first major survey exhibition. Best known for his work in ceramics, O’Brien’s exhibition features his prolific output in a range of media including sculpture, drawing, assemblage, and painting. Cultural sources, such as art history, ethnography, spirituality, pop, and poetics, strongly inform his work and his ever-expanding scope of influence. William J. O’Brien includes more than 130 objects in various media and offers a visual profusion of color and pattern.

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Printmaking Today. Printmaking Today is the authorized Journal of the Royal Society of Painter-Printmakers. Welcome to Printmaking Today's information page For subscriptions please click on the green buttons above and for back issue orders please go to the 'Contents and Back Issues Orders' button on the leftFor further information about submissions,the Editor, the editorial board, about the setting up of Printmaking Today by Rosemary Simmons and for details of advertising in Printmaking Today - please go to the 'Printmaking Today - Information ' button on the leftFor our listings of Galleries and Print Dealers, Printmaking Courses, Exhibitions and Opportunities, Printmaking Periodicals, Studios and Workshops, Editioning Services, Printmaking materials, suppliers and equipment, please go to the 'Printmaking Today - Resources' button on the left Happy Exploring...... State of Art

Frog Frog 15 hits the newsstands in November 2015. Olympia Campbell is on the cover, photographed for Frog by Jüergen Teller at the Musée Picasso in Paris. This is a very special issue, as we celebrate Frog’s 10th anniversary! For this anniversary issue, Juergen Teller shot a 28-page super exclusive spread at the Musée Picasso in Paris especially for us, while Stéphanie Moisdon interviewed Bernard Picasso himself. Italian architect and designer Andrea Branzi, a member of Archizoon between 1964 and 1974, is featured in an exclusive interview for Frog with Chloé Valadie and Gaëtan Brunet –here he shares his provocative views on ecology, among many other things:

Glass Bead Outline Each issue of the journal is dedicated to the exploration of a site. The notion of site is defined in broad terms. Metalsmith. Metalsmith magazine is published by SNAG. Metalsmith gives you a front row seat on the world of studio art and design in contemporary jewelry and metalsmithing. It’s smart, beautiful and provocative, and guaranteed to inspire and invigorate. Coverage spans contemporary makers, artists in their studios, edgy work, production jewelry, fashion, hollowware, furniture, collectors’ collections, and much more. For over 30 years, Metalsmith has brought you the best in the field. View a FREE digital sample of Metalsmith Volume 38 No 2 (April 2018) Hamburger Bahnhof, Berlin The Nationalgalerie’s permanent collection at the Hamburger Bahnhof – Museum für Gegenwart – Berlin features major figures and movements in art since 1960, taking up where the Neue Nationalgalerie leaves off. The museum reveals these artistic trends in all their diversity: the audacious redefinitions of painting, the continuation of traditional sculpture in object art, the special role of photography and multimedia concepts in video and film. A historically-defined exhibition style was consciously avoided in favour of an open presentation concept embracing all the media used by the various artists. Despite the striking spaciousness of its premises, it is not actually possible to show all of the museum’s work at once. The museum’s collection of paintings features works by Gerhard Richter, A.R.

Hyperallergic Sensitive to Art and Its Discontents Hyperallergic is a leading voice in contemporary perspectives on art, culture, and more. The online publication was founded by the husband-and-husband team, Veken Gueyikian and Hrag Vartanian, in 2009 as a forum for playful, serious, and radical perspectives on art in society. With over one million visitors monthly, Hyperallergic combines round-the-clock art world news coverage with insightful commentary. Challenging the art world status quo, Hyperallergic goes beyond the surface to investigate the inner workings of art institutions and markets, shedding light on the movements and individuals fighting for greater inclusion and representation. With hundreds of global contributors, Hyperallergic is a constant source for the latest in film, visual art, books, and performances around the world.

Lacanian ink. Certainly marked by the work of Jacques Lacan, much as by the writing on Jacques Lacan, lacanian ink has been going for 19 consecutive years. And lacanian ink belongs in NYC, it was born here, it is done here. In this particular sense I was happy to realize how, together with a number of other journals, lacanian ink has been a witness to contemporary culture in the last decade. Today, there are few of them that continue. Bomb and lacanian ink are two of them. "If I am anything in the picture it is always in the form of a screen."

Journal of Illustration. Postage Journal postage is free within the UK, US and Canada. Postage will be added at the following rates for other regions: £10 postage will be added if ordering from within the EU $7 if ordering from the Americas (except US and Canada) £14 per volume for Rest of the World VAT will be charged, where applicable, at the standard rate for online only orders, and on the online component of institutional (print and online) subscriptions (50% of the price).

Crafts. In our September/October issue, we meet makers partnering with nature in fascinating ways. Japanese artist Kazuhito Takadoi tells us about weaving with harvested grasses and branches, German wood turner Ernst Gamperl discusses his ten-year tribute to one gargantuan oak tree, and we discover a new breed of designers using biomaterials to grow textiles for the wardrobe of the future. Meanwhile, to mark the 10th anniversary of the British Ceramics Biennial in Stoke-on-Trent, Crafts asked V&A director Tristram Hunt to assess the revival of ceramics in the city, the challenges the industry still faces and what should happen next. Elsewhere, our columnists bring marginalised female makers into the spotlight, with Glenn Adamson arguing for the importance of women-only exhibitions and Tanya Harrod rewriting a historical wrong. Stories about women’s labour, sexuality and migration are also brought into sharp relief in a dazzling series of textile photograms.

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