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Participation Park: Baltimore Development Cooperative Scores Sondheim Prize
The three-member artist collective known as the Baltimore Development Cooperative took home the Sondheim Artscape Prize, a $25,000 award that serves as the mid-Atlantic region's most prestigious visual art recognition. In an award ceremony on Saturday at the Baltimore Museum of Art-where the Baltimore Development Cooperative (BDC) as well as the five other finalists for the prize are enjoying an airing of their works-Baltimore mayor Sheila Dixon presented the award to artists Nicholas Wisniewski, Dane Nester, and Scott Berzofsky.Read More
Masquerade: Dawn Black's Surreal Sociology
Dawn Black's solo exhibition, The Conceal Project, is on view at Curator's Office, in Washington D.C. through March 21st. Kriston Capps is a critic based in Washington, D.C.
Imagine no Barack Obama. Imagine a world with no Hope poster, no O-shaped emblem. Neither a "YesWeCan" world nor a "NoWeDidn't" world -- merely a world in which political upheaval wasn't the order of the day. Such a world, if it existed, might not look so different from the one imagined by Dawn Black. Read More
Things Fall Apart: Brandon Morse's Digital Demolitions
Critic Kriston Capps considers artist Brandon Morse's video catastrophes as commentary on the current economic crisis. The Shape We're In remains on view at Conner Contemporary Art in Washington, D.C. through March 21st.Brandon Morse's work may inspire associations with terrorism -- specifically, the World Trade Center attacks of September 11th, 2001. In video projections of the artist's digital media animations, skeletal architectural structures succumb to great cataclysms, falling and tumbling according to the systemic rules designed by the artist. The seismic or catastrophic event that brings down his digital towers goes unseen-his videos seem to project a more passive form of destruction, with the emphasis on the collapse itself.
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Currently on view in the group show "Redux" at New York's Cristin Tierney Gallery (through Feb. 4) are two works by Joe Fig, both related to his 200
