Art

THE AESTHETIC EXPERIENCE OF DRONE MUSIC is not just aesthetically defined, but socially and historically located. The significance of this location is especially intriguing when concealed in a music legacy that aims exclusively at the pure presentation of sound, a music intent upon expelling all that is foreign to the aesthetic experience while underscoring a formal, perceptual physicality. As such, it is difficult to review an instance of drone music in isolation from either the widespread classification of the genre that increasingly defines the music listening experience or drone music’s historically accumulated predilection for spatial sound masses over temporal themes. [Read More]

We succeeded culturally. We succeeded socially. And we lost politically… I always say: ‘thank God!’ —Daniel Cohn-Bendit in interview on 1968, conducted by Yascha Mounk for The Utopian (2008) [O]ne asks with whom the adherents of historicism actually empathize. The answer is inevitable: with the victor… Whoever has emerged victorious participates to this day in the triumphal procession in which the present rulers step over those who are lying prostrate. [Read More]

I’M NOT THERE is the most recent effort by American director Todd Haynes, who in his relatively short career has progressed from his notorious early effort, Superstar, through a celebrated period as an icon of the New Queer Cinema, and onto mainstream Hollywood success with the Oscar-nominated Far From Heaven and now I’m Not There. Having previously tackled David Bowie in Velvet Goldmine, with I’m Not There Haynes turns his lens on one of the most iconic American musicians of the 20th century, Bob Dylan. [Read More]

ONE OF THE HIGHLIGHT EXHIBITIONS of the summer of 2007 in Chicago was The Art Institute’s retrospective exhibition on the work of Jeff Wall. This occasion marked the first time that the Art Institute exhibited a solo show of a photographer. Jeff Wall’s large-scale color transparencies, mounted in light boxes, covered the same walls that have previously displayed Rembrandts, Girodets, and Manets. The exhibition provided the opportunity to reconsider the present condition of photography as art. [Read More]

MY FIRST IMPRESSION UPON ENTERING Haseeb Ahmed’s installation, “The Common Sense,” which opened at Around the Coyote Gallery on September 5th was one of open space. It was an openness that contrasted sharply with the hundreds of paintings, photographs, sculptures that cluttered the rest of the many other galleries that opened that Night in Wicker Park’s FlatIron Building. Such a contrast pointed out the fact that, more a piece of interior architecture than a collection of installed objects, the central element to be experienced in Ahmed’s installation was space itself. [Read More]