Resonance has become difficult to produce in the increasingly de-sensitized 21st century. Media and news headlines tell the stories of statistics instead of lives. We interact with numbers and not people, and it is hard to feel resonance to an intangible figure, which due to its impersonal nature fails to create a true emotive response. Without this emotive response, it becomes hard to forge a sense of understanding, responsibility, and awareness of the world around us. Böhler and Orendt’s The Carrion Cheer, A Faunistic Tragedy juxtaposes child-like novelty with their characteristic dark humor to striking effect. Their theatrical approach to the issue of animal extinction is both moving and educative, creating a profound impact on its viewers. READ WHOLE POST [+]
Opposed to turning a blind eye to the impact that mankind leaves on the environment, The Carrion Cheer, A Faunistic Tragedy embraces the attention that it receives. Forcing the viewer to fully immerse themselves into the exhibit, through the usage of tents and sounds, a strong message regarding extinction is given. Theatrical characteristics incorporated in the work aid in provoking thought for its viewers on a broader sensory spectrum.
The Carrion Cheer is not only an art installation but a statement that acknowledges how industrialization is detrimental to the existence of various species. Artists, Böhler and Orendt, chose nine animals to exemplify the understated harms caused by humans; animals chosen went extinct in different eras, however, humans remained a constant. READ WHOLE POST [+]
This month, interns at the Halsey Institute will be interviewing artists in Young Contemporaries. This series features students interviewing their peers, investigating aspects behind some of the works in the Young Contemporaries 2018 exhibition. In this post, Maddie Stauss interviews artist Nori Page. READ WHOLE POST [+]
This month, interns at the Halsey Institute will be interviewing artists in Young Contemporaries. This series features students interviewing their peers, investigating aspects behind some of the works in the Young Contemporaries 2018 exhibition. In this post, María Carrillo-Marquina interviews artist Timothy Hunter. READ WHOLE POST [+]
This month, interns at the Halsey Institute will be interviewing artists in Young Contemporaries. This series features students interviewing their peers, investigating aspects behind some of the works in the Young Contemporaries 2018 exhibition. In this post, Chloe Gillespie interviews artist Hope Morgan. READ WHOLE POST [+]
Born into post-revolutionary Havana, where he continues to live and work today, Roberto Diago has always drawn inspiration from the socialist propaganda of his surroundings. “Here in Cuba,” Diago has explained, “you see a lot of big billboards advertising unity and solidarity for the common good. I think that’s cool, and I told myself that I could also propagandize for things I feel.” This realization first manifested in the form of a graffiti-inspired style which, like his current approach, sought to spark discourse around the racist residue of slavery in Cuba. READ WHOLE POST [+]
La historia recordada by Roberto Diago translates into English as “The Remembered History,” a title that purely encapsulates what the work is Diago’s work is about. Diago is an Afro-Cuban artist from Havana, Cuba, whose works present a personal uprising that ignite a conversation about the racial identity of Cuba. Diago largely works with found materials such as metals, oil drums, and wood because those materials resonate with the people of Cuba, as such objects are commonly seen in neighborhoods around Havana. Much of his work is abstracted to disguise its true content of his commentary of the racial oppression and divide in Cuba. With the inclusion of bilingual components in the exhibition, La historia recordada allows for a wider reach for those who don’t speak English; furthermore, individuals fluent in English and Spanish may have an enriched experience by comparing the translations and their connections to the work on view. READ WHOLE POST [+]
The work of Aurora Robson and Chris Jordan are disparate, but they both leave an impact. They open up audiences’ eyes to the magnitude of the amount of plastics being discarded and the overarching consequences it is having on our environment. Coral acidification, animal suffering, and air pollution – just to name a few. The experience of their artwork left me searching for ways to reduce my plastic use. It also urged me to search for ways to nurture our Earth, analyzing our systems of sustainability as a whole. READ WHOLE POST [+]
The College of Charleston has been working to increase students’ understanding of sustainability and solidifying a movement to inspire the entire campus. This fall, the Halsey Institute teamed up with the South Carolina Aquarium to bring awareness of the problems of plastic consumption and waste with an exhibition called SEA CHANGE, which is sponsored by the Office of Sustainability, the Quality Enhancement Plan, and others. The exhibition features Aurora Robson: The Tide is High and Chris Jordan: Midway, whose works highlight the problems within our consumer culture, specifically the plastic pollution that fills our oceans. READ WHOLE POST [+]
Now exhibiting at the Halsey Institute is Aurora Robson: The Tide is High and Chris Jordan: Midway. Aurora Robson uses pre-recycled plastics to create large scale sculptures and installations. Robson’s art prevents plastic entering into the waste stream because they are being repurposed into artwork. Her work has an organic aesthetic that further connects her projects to nature. Chris Jordan’s art concentrates on displaying the consequences of mass consumption and plastic waste through photography and collage. Jordan’s work is confronting and sets the stage for conversation about how humans are affecting the planet. Plastic pollution is a growing global crisis and both Robson and Jordan create visual forms to voice their environmental concerns.
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