Looking back at journals or artworks made as a student can be painful as well as nostalgic, exposing a soft underbelly, ideas raw, not yet finessed. But examining such material reveals the groundwork laid in those early days for what followed. “California Paintings: 1971–1973,” an exhibition of Mira Schor’s early works, many never exhibited before, or not since her MFA show at CalArts in 1973, reveals the foundation of Schor’s practice and maintains their relevance nearly 50 years later. The “California Paintings” here map Schor’s progression as a graduate student, to the completion of her MFA at CalArts in the early 1970s, where she enrolled in the now-legendary Feminist Art Program before she herself became a respected feminist painter and writer.
An anti-Brexit van festooned with puppets of Tory MPs drove past as I waited to cross the road in Hyde Park where Grace Wales Bonner’s exhibition was installed at the Serpentine Galleries. Tooting its horn, its tune was despondent, while the self-imposed crisis of the British government carried on in Westminster. Inside the Sackler Gallery, we are able to forget about Brexit. Instead, an assemblage of sounds, artworks, performances and texts looks back to Black Intellectualism, including an invocation from poet and novelist Ben Okri: “Bring your wisdom, your fire, your hope. Bring a new courage and a new fight.”
Janice Kerbel’s wide-ranging practice—from typographic posters to choreographed performances of synchronized swimming—can be divided into two broad bodies of work: those to be read, and those to be seen or heard, typically through live performance. LIVE, a new publication of three scripts and a score written by Kerbel over the past ten years, provides the textual counterparts to four of her major performed works.
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