#chuck-radtke

#chuck-radtke

"It's an amalgamation of the Chicago neighborhood aesthetic with a Bulls fan, quite literally. It's kind of on the nose, but that's how I juxtapose the elements of my work, with the structure of a home and then a figure who is around or in the home."

Lachlan Turczan's practice sits in the space between physics, optics, and environmental art, as he works with lasers, water, mist, and custom-built lenses to produce sculptures made entirely from light.

"Most people don't stop to observe the crews' work or the infrastructure they uncover," Tentler-Krylov said. "But these unseen things keep the city going."

All but one of the song titles on Body Sound, the debut album from experimental string trio Whitney Johnson, Lia Kohl, and Macie Stewart, line up nicely-a few words, usually two, usually nouns, separated by a vertical line. The straight line in the middle means different things in different disciplines. In computing, it's called a 'pipe' and serves as a conduit. In poetry, it denotes a pause or break. In music, it marks the beginning and end of measures.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

On a cool winter night in Los Angeles, dozens gathered to protest the Trump administration's attacks on the arts and the recent federal immigration raids in southern California. But these protestors didn't carry signs or chant in front of a government building they recited poems such as Antifa Tea Party and Love in Times of Fascism. They performed anti-fascist improv to a small but lively crowd at The Glendale Room, a library-themed theater, as part of the monthly show Unquiet: A Night of Creative Resistance.

Inside NYC-based artist Mark Dorf's project Late Pastoral, the ecological world is trapped in a rear-illuminated print. It's real - but something is off, it's been digitally altered, data-noise clutters images of glowing plant life. Shaped by the pervasive influence of technology, design and the rhythms of digital connectivity, even nature becomes at one with the unreal. Non-human nature is the main thesis of Mark's wide-spanning digital art works, offering reflections on our digital age.

Ceramic works by Nicole Cherubini emphasize motifs of collage at Friedman Benda in New York, while the Berlin show, Vital Architecture: Between Idealism and Reality, turns attention to the built environment, tracing how architectural thinking negotiates environmental conditions and history through research-driven practice. Questions of time, inheritance, and transformation run through the month.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

Topped with a roof shaped like a crabshell, Le Corbusier's Chapelle Notre-Dame-du-Haut is a sanctuary amid the French mountainside. The 1955 construction rests atop a hill in Ronchamp, standing unobstructed by the otherwise forested inclines. As the sun rises and falls, light filters in through the mélange of rectangular windows tinted to cast streams of color around the space. The stained glass apertures of Le Corbusier's modernist chapel are a clear reference point for Luftwerk's "Open Frame."

Two years ago, the annual Under the Radar festival (which showcases international, experimental and multidisciplinary theater) was unexpectedly canceled by the Public Theater, its longtime presenter, due to financial issues. In response, the festival was quickly reconceived as a citywide effort involving several other theater companies, allowing it to move forward. The festival, now in its 21st edition, returns this month with productions at theaters across the city from Jan. 7 to 25.

But they also miss what makes his approach distinctive. Chang worked with objects that industrial culture designed to be identical: records pressed in millions of copies, portraits drawn according to strict house style, coins minted for perfect interchange. His interest lay in the precise moment when the promise of sameness begins to fail, when time and human handling leave marks that transform supposedly identical objects into singular things.