Curated by Irene Hofmann
Broadcast explores the ways in which artists since the late 1960s have engaged with, critiqued, and inserted themselves into official channels of broadcast television and radio. By co-opting the sounds, images, and presentation strategies of our culture’s dominant forms of mass media, they reveal the mechanisms and power structures of broadcasting systems, and challenge their authority and influence.
Curated by 35 international curators
To celebrate ICI's 35th anniversary in 2010, thirty-five leading curators from all over the world have been invited to select one artist's video each, which they think is important, and should be seen by audiences across the globe now. Project 35 will be compiled onto a series of DVDs with eight to nine works in each of the four chapters, which will be distributed every three months, to provide you with new and engaging programming throughout the year.
Curated by Christopher Bedford
Despite all that has changed since sexual and social identity became a hot-button topic in art production and discourse throughout the 1970s, ’80s, and ’90s, one American stereotype still remains particularly entrenched: that of the male athlete. Mixed Signals: Artists Consider Masculinity in Sports focuses on artists from the mid-1990s to the present who question the notion of the male athlete as the last bastion of uncomplicated, authentic identity in American culture during the preceding decades.
Curated by Nato Thompson
This exhibition explores the distinctions between geographical study and artistic experience of the earth, as well as the juncture where the two realms collide. Geography benefits from the study of specific histories, sites, and memories. Every estuary, landfill, and cul-de-sac has a story to tell. The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer—an amalgam of scientist, artist, and explorer—is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism.
Curated by David Platzker
Harald Szeemann: Documenta 5 explores the many facets of one particularly controversial Documenta exhibition, which jumped outside the contemporary art sphere into an expanded realm of activity, a legendary extravaganza that invited both visceral criticism and praise. This specific 1972 Documenta, chiefly curated by the influential Swiss curator, Harald Szeemann, was a pioneering, radically different presentation that was conceived as a 100-day event, with performances and happenings, outsider art, and even non-art. The assembled materials in this exhibition provide a rich jumping off point for art history students, artists, and general audiences to plunge into the international contemporary art scene of 1972, to see what this particularly fertile cultural moment produced.
Curated by David Platzker
Raymond Pettibon: The Punk Years, 1978-86 taps into the steady stream of this California artist's early graphic arts production, before he appeared on the contemporary art stage. It includes over 200 examples of Pettibon's powerful designs made between 1978 and 1986, when he was immersed in the Los Angeles punk rock scene, doing the graphic design for Black Flag and other punk bands. Crossing back and forth between music and the visual arts, this project shows Pettibon’s raw imagery, heavily shadowed technique, and characteristic visual punch in formation.
Curated by Claire Gilman & Margaret Sundell
Responding to the rapid, often violent transformations of the twenty-first century, contemporary artists have displayed a growing desire to activate art’s documentary capacity: its ability to bear witness to events in the world. The Storyteller focuses on artists who use the story form as a means of comprehending and conveying political and social events. For them, the story functions neither as a purely imagined narrative nor as a piece of verifiable information. It is at once temporal and personal, public and communal, persisting through the listener’s interpretive process and through each subsequent retelling.
Curated by João Ribas
FAX invites a multigenerational group of artists, as well as architects, designers, scientists and filmmakers, to conceive of the fax machine as a tool for thinking and drawing. Although the technology for transmitting printed images and texts over distance dates from the nineteenth century, it was the introduction of commercially available machines in the 1970s that turned facsimiles into a ubiquitous communications medium for international business.