Postcommodity on a tour of the Hill District with ethnomusicologist Colter Harper (2017). Left to right: Raven Chacon, Cristóbal Martínez, and Kade Twist of Postcommodity; Ingrid Schaffner, curator, Carnegie International; Colter Harper. Photo by Liz Park. ArtNet News
Sarah Cascone Pittsburgh’s Carnegie Museum of Art has named the 32 artists and collectives that are set to take part in the 57th Carnegie International, opening October 13, 2018.
The short length of the tight
October 2, 2017
Fran Schechter Ahead of Nuit Blanche, New York curator Nato Thompson brought his roving conference on political art to Toronto.
Creative Time, a U.S.-based organization supporting politically engaged art, brought its 10th summit to Toronto, the first held outside the United States.
The org is known for putting on art projects outside institutional and gallery settings: Kara Walker’s ASubtlety, a giant sphinx made of sugar exhibited in a Brook
Art News 10/2/2017 Robin Scher The Ford Foundation has selected artists to support through its Art of Change fellowship program, which focuses on work by socially progressive artists. Recipients of the 25 fellowships receive $50,000 (or $75,000 for collectives) in unrestricted funds to create artwork to “help advance freedom, justice, and inclusion, and strengthen our democracy,” according to an announcement. The work will be exhibited at a showcase in late 2018. Among the re
Long before the forty-fifth president of the United States rolled out his demonstrably preposterous plan to build a security wall stretching two-thousand-plus miles across the country’s border with Mexico, Postcommodity was investigating that boundary as a site of fantasy and folly. Comprising three collaborators—Raven Chacon, Cristóbal Martínez, and Kade L. Twist—from the Southwestern US, the interdisciplinary collective spent years developing Repellent Fence (2015), a work
ArtSpace May 25, 2017 by Loney Abrams You may recognize Postcommodity from the collective’s contribution to the Whitney Biennial: a dizzying four-channel video sped up and slowed down in conjunction with sound, tracing the fences that line the US-Mexico border. The installation, titled A Very Long Line, demonstrates the "dehumanizing and polarizing constructs of nationalism and globalization through which borders and trade policies have been fabricated.” This isn’t the first
ArtNews Alex Greenberger May 4, 2017 Postcommodity, Coyotaje, 2017. CHARLES BENTON/COURTESY THE ARTISTS AND ART IN GENERAL In 2012, the three-person collective Postcommodity began having conversations with United States Border Patrol officials. The artists—Raven Chacon, Cristóbal Martínez, and Kade L. Twist—were interested in various forms of deception along the U.S.-Mexico border, but they needed an insider’s perspective. They asked officers to talk about the techniques they
Hyperallergic May 3, 2017 Risa Puleo Postcommodity’s “Repellent Fence” (2015), as seen in Sam Wainwright Douglas’s Through the Repellent Fence: A Land Art Film (2017) (photo by Michael Lundgren, courtesy of Postcommodity) From their base in the American Southwest, Postcommodity members Raven Chacon (in Albuquerque), Crístobal Martínez (in Phoenix), and Kade L. Twist(in Santa Fe) are well positioned to view the realities and projections of life along the US–Mexico border. In 2
The Brooklyn Rail May 1, 2017 Jared Quinton In part of Postcommodity’s takeover of Art in General’s new Dumbo space, a single photograph hangs at the end of a long gallery, spotlit and seemingly suspended in darkness. In the image, shot from a moving car on the U.S. side of the U.S. – Mexico border, two dogs preside over the bones of a dead horse. One stands protectively, meeting the camera’s gaze, while the other looks away uninterested, dwarfed by the skull nearby. The chai
Congratulations to Kade Twist, member of the artist collective Postcommodity, and fellow members Cristóbal Martínez and Raven Chacon for their inclusion in documenta 14 with presentations in Athens, Greece and Kassel, Germany Installation View: Postcommodity, Coyotaje, 2017. On view Art In General, New York, March 25-May 6, 2017 Works at documenta 14: The Ears between Worlds Are Always Speaking (2017) Two-channel hyperdirectional opera: two Long Range Acoustic Devices (LRADs)
See the artist collective Postcommodity at the 2017 Whitney Biennial Postcommodity includes: Cristóbal Martínez, Kade L. Twist and Raven Chacon See Kade Twist’s solo work at David Richard Gallery FEATURING BELOW: KADE L. TWIST Twist’s solo artistic practice focuses on the diaspora of the Cherokee nation, mapping their migration across the US from their origins in the Carolinas through the Southern US, to Oklahoma and on to California. These migrations, caused by economic expa
As part of 50 States of Art, The Creators Project is inviting artists to contribute first person accounts of what it is like to live and create in their communities. Kade L. Twistis an interdisciplinary artist working with video, sound, interactive media, text, and installation environments in Santa Fe, New Mexico. I’m a Cherokee raised in Bakersfield, California, with a natural inclination toward a brand of cynicism that often emerges from places where oil, agriculture and c