Laurie Kang

Cover art
PublisherSculptureCenter2020
Art has served belief for a very long time. In the wake of a vast historical trove of devotional objects, religious subject matter, pseudo-religious spectatorship, and trompe-l’oeil trickery, a broad swath of recent art based in trust, tenuous faith, or the suspension of disbelief fans out. Near the end of the last century, photo-documents asked viewers to believe that some of conceptual art’s most important gestures actually happened, while in the last twenty to thirty years works of autofiction, parafiction, and straight-up fiction have exploited our own skepticism and naivete by intentionally introducing the unbelievable into the realm of the ...
Cover art
PublisherBlackwood Gallery2020
One of the greatest capacities of the medium of animation is its magic—the apparent bringing-to-life of a world of static objects, uncertain companions, and unruly agencies. Things move, they do, they feel the propulsion of awakened urgencies. This “magic,” in fact a technology of representation which cascades still images in order to undo the perceived stillness of the image, also illuminates a fundamental relationship between people and things. Animation activates non-human agency as observed by a spectator, a participant, a co-performer recognizing the coming-to-life of an object, an animal, a photographic or digital entity. It opens space for the sentience and ...

We use cookies to improve your experience on our site. Read our privacy policy to learn more. Accept

Join Our Mailing List