Partly houses or small towers, partly pawns or chimneys to be circumnavigated as in an abstract Lilliputian landscape, the installation “activates delicate perspectives and architectural contrasts between solid and void, highlighted in turn by the bright colors of the glaze."
As exquisite as they are painful, Didion’s words resonate with the works in "Stranger Approaching", which, in different ways, invite the contingency of the process to dictate the plot instead of following it.
NO!art was an independent antiestablishment art movement founded in 1959 in New York by Boris Lurie (1924–2008), Stanley Fisher (1926–1980), and Sam Goodman (1919–1967) that involved approximately twenty artists and lasted through the 1960s. Self-described as a rebellion of the underprivileged, NO!art used negation, pessimism, and anti-aesthetics to protest the “investment machines” of Abstract Expressionism and Pop art that dominated the market at the time.
New York–based artist Josh Kline connects the smallest details—the curve of a police helmet, the grain of 3D-printed resin—to vast systems of technology, money, and ecology. His latest work, Climate Change (2019), is the fourth chapter in a larger science-fiction cycle depicting daily life in a catastrophic future. In conversation with Michelle Kuo, who included the artist in the recent exhibition New Order: Art and Technology in the Twenty-First Century, Kline discusses his new film and his desire to understand human emotion in the face of colossal problems.
So what is it that we desire, but never fully get? In times of intensified political factions, joined by the repression of collective memory and mutual care, it might be self-understanding and—perhaps—unity. A central question for most humanism and activism today is how to come together beyond populism while not simply preaching to the choir.