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"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
Neighborhood art installation by Suzanne Scherberger Sherman, inspired by similar works by Yoko Ono, located in a West Ghent neighborhood, Norfolk, Virginia.
Visit my album to view all of the images that document the story of this neighborhood art installation, Wishing Tree, here...
www.flickr.com/photos/peacecorrespondent/albums/721576769...
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
I don't remember the name of the artist that set this up In the Mass. MOCA, but I think it's the best piece of installation art I have ever seen. Machines along the cieling drop single sheets of tissue all over the room...
[edit: Found another pic of this on flickr, it is called Corpus and it is by Ann Hamilton]
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
installing myself in Trent Doyle Hancock's Installation.... i love this love love love this....
thanks Tracy for the photo
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
Installations at artist's studio.
"Interior" 1988 Collection Musée d'Art Moderne de Saint-Etienne Métropole, France.
Appropriated paintings by Jacob van Ruisdael, etc.
“Interior,” 1988 Collection of the Ludwig Forum Aachen, Germany.
Oil on canvas, wood, 200 x 300 x 200 cm. Appropriated paintings by François Boucher, Amadeo Modigliani, etc.
Exhibited: “Aperto,” XLII Biennale di Venezia. Aperto. 01 June - 01 November 1988. Curator Dan Cameron). Venice, Italy. (cat.)
Artists: Carla Accardi, Siegfried Anzinger, Gabor Bachmann, Jacobo Borges, Imre Bukta, Eric Bulatov, Alberto Burri, Anthony Caro, Lynn Chadwick, Sandro Chia, Eduardo Chillida, Francesco Clemente, Tony Cragg, Enzo Cucchi, Grenville Davey, Jan Dibbets, Piero Dorazio, Felix Droese, Willem De Kooning, Piero Dorazio, Robert Gober, Andy Goldsworthy, Clemens Gröszer, Renato Guttuso, Jasper Johns, Martin Kippenberger, Svetlana & Igor Kopystiansky, Jannis Kounellis, Sol Le Witt, Markus Lüpertz, Roberto Matta, Allan McCollum, Marisa Merz, Tatsuo Miyajima, Ulrike Nattermüller, Louise Nevelson, Jorge Oteiza, Mimmo Paladino, Sandor Pinczehely, Hermann Pitz, Arno Rink, Tim Rollins & KOS, Thomas Ruff, Niki de Saint Phalle, Horst Sakulowski, Niki de Saint Phalle, Geza Samu, George Segal, Andreas Slominski, Mark di Suvero, Tibor Szalai, Cy Twombly, Hans Vent, Claude Viallat, Norbert Wagenbrett, Trak Wendisch, Tom Wesselmann, Franz West, Walter Womacka, Doris Ziegler
Standing alone in quiet elegance, this wire sculpture by Ruth Asawa draws you in with its impossibly delicate strength. It hovers just above the white platform, casting soft, rippling shadows like echoes of breath on the gallery wall. The looping wirework creates bulbous shapes that feel both mathematical and organic—like seeds, or the forms of sound. At SFMOMA, encountering this single piece in isolation offers a different rhythm. It’s meditative, a visual whisper. You linger longer than you expect, caught in the stillness, marveling at how something made of metal can feel so alive and full of motion.
"Queloides" is an art exhibit that seeks to contribute to current debates about the persistence of racism in contemporary Cuba and elsewhere in the world. The exhibit was hosted at the Centro Wifredo Lam in Havana (April 16 - May 31, 2010), and is being transferred to the Mattress Factory (October 15, 2010 - February 27, 2011). The twelve artists invited to participate are renowned for their critical work on issues of race, discrimination, and identity. Several of them collaborated in three important exhibits in Havana between 1997 and 1999 (titled “Queloides I”, “Queloides II”, and “Neither Musicians nor Athletes”). The last two were curated by the late Cuban art critic Ariel Ribeaux. All these exhibits dealt with issues of race and racism in contemporary Cuba, issues that had been taboo in public debates in the island for decades. “Keloids” are wound-induced scars. Although any wound may result in keloids, many people in Cuba believe that black skin is particularly susceptible to them. Thus the title evokes the persistence of racial stereotypes, on the one hand, and the traumatic process of dealing with racism, discrimination, and centuries of cultural conflict, on the other. "Queloides" includes several art forms--paintings, photographs, installations, sculptures, videos--and offers novel ways to ridicule and to dismantle the so-called racial differences.
The artists, who were all born in Cuba, include Pedro Álvarez, Manuel Arenas, Belkis Ayón, María Magdalena Campos-Pons, Roberto Diago, Alexis Equivel, Armando Mariño, René Peña, Marta María Pérez Bravo, Douglas Pérez, Elio Rodíguez, and José Toirac/Meira Marrero.
"This is the first time in post-revolutionary Cuba the word ‘racism’ has appeared in the title of an exhibition. Because of this, I have now been banned from Cuba. It is a high price to pay, but we must do what we can to help break the official silence on racism.”
– Alejandro de la Fuente, Co-Curator of "Queloides"
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Light Recordings
steel, automated lights, wire, pulleys, plumb bob, concrete, shadows
2011
Natalia González is a Bolivian artist whose video performances and installations are recordings of interactions in specific contexts. The recording tools used – lengths of steel, automated light, and shadows – configure events from which to consider the time/space contingency.
Implied by her aesthetic, the slow and precarious nature of her works are intended to be a response to the conditioning involved in certain modern attitudes – namely things being exaggerated, spectacular, or quickly digested. The reconsideration of disarmingly simple notions leads to a reflective question: What is happening?
Bio: Natalia Gonzalez was born in 1978 in Bolivia and is a graduate from the Maryland Institute College of Art in Baltimore. Her work includes events and recorded responses to a specific place using accessible materials such as lamps, bricks, and string. She uses a video camera to document these activities as well as a tool for drawing. In this sense, the recording itself is the material, creating a sequence of images that are articulated in time. Gonzalez has exhibited throughout Bolivia in Santa Cruz, La Paz, Cochabamba, and Sucre, as well as in the Washington/Baltimore area, Santiago, and Buenos Aires.
Light Recordings
steel, automated lights, wire, pulleys, plumb bob, concrete, shadows
2011
Natalia González is a Bolivian artist whose video performances and installations are recordings of interactions in specific contexts. The recording tools used – lengths of steel, automated light, and shadows – configure events from which to consider the time/space contingency.
Implied by her aesthetic, the slow and precarious nature of her works are intended to be a response to the conditioning involved in certain modern attitudes – namely things being exaggerated, spectacular, or quickly digested. The reconsideration of disarmingly simple notions leads to a reflective question: What is happening?
Bio: Natalia Gonzalez was born in 1978 in Bolivia and is a graduate from the Maryland Institute College of Art in Baltimore. Her work includes events and recorded responses to a specific place using accessible materials such as lamps, bricks, and string. She uses a video camera to document these activities as well as a tool for drawing. In this sense, the recording itself is the material, creating a sequence of images that are articulated in time. Gonzalez has exhibited throughout Bolivia in Santa Cruz, La Paz, Cochabamba, and Sucre, as well as in the Washington/Baltimore area, Santiago, and Buenos Aires.
Caneta permanente sobre parede, 3 x 7,45 metros.
Caixa Cultural - RJ - Exposição: In Memoriam.
Curadoria de Fernanda Lopes.
Foto: Rafael Pereira.
The arrangement of matter, its behaviour, addition to or subtraction from it, its shape and difference in position, and its rearrangement create chaos in the normal activity of the human brain. Apparently, all of this is without a reason, but the following can be experienced from this:
- A temporary feeling of stillness (or a partial feeling of emptiness)
- A strong reaction of the inquisitive cells
- A realization of meaninglessness.
Wise men say:
"Be empty if you want to be full".
Does he know about the distance between existence and annihilation, or the difference between what is visible and what is not?
.
.
#nothing_is_real
Installation art
At The Taragaon Museum, Kathmandu,Nepal
July 26 - August 03, 2019
#KIAR
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Exposition “L'autre côté du miroir, le monde de Charles Matton“ à l'Espace culturel Chapelle Sainte-Anne
#laBaule #laBauleLesPins #ArtContemporain #LesBoîtes #contemporaryart #exhibition #installationart #artinstallation #art #laBauleEscoublac #CharlesMatton
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Light Recordings
steel, automated lights, wire, pulleys, plumb bob, concrete, shadows
2011
Natalia González is a Bolivian artist whose video performances and installations are recordings of interactions in specific contexts. The recording tools used – lengths of steel, automated light, and shadows – configure events from which to consider the time/space contingency.
Implied by her aesthetic, the slow and precarious nature of her works are intended to be a response to the conditioning involved in certain modern attitudes – namely things being exaggerated, spectacular, or quickly digested. The reconsideration of disarmingly simple notions leads to a reflective question: What is happening?
Bio: Natalia Gonzalez was born in 1978 in Bolivia and is a graduate from the Maryland Institute College of Art in Baltimore. Her work includes events and recorded responses to a specific place using accessible materials such as lamps, bricks, and string. She uses a video camera to document these activities as well as a tool for drawing. In this sense, the recording itself is the material, creating a sequence of images that are articulated in time. Gonzalez has exhibited throughout Bolivia in Santa Cruz, La Paz, Cochabamba, and Sucre, as well as in the Washington/Baltimore area, Santiago, and Buenos Aires.
a large pile of golden utensils found in an abandoned factory outside paris. the abandoned building is mysterious. There are huge rooms filled with these golden utensils. Just sitting there collecting dust. I do not think that they are really gold just golden in colour.
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com