The recently opened Collier Schorr exhibition at 303 Gallery suggests a fresh dialogue on appropriation, a trend in art that has been associated with photographic work more often than any other medium since the 80s, and is here taken up again by a long-time photographer. Instead of Richard Prince’s infamous rephotographing of Marlboro ads or Jeff Koons’ re-sculpting of the kitsch, though, Schorr’s practice stands closer to the likes of Sherrie Levine or Barbara Kruger, presenting new discussions on feminism, the female body and its place in the contemporary aesthetic discourse.

Collier Schorr, The Bricks (2013), Courtesy of Collier Schorr and 303 Gallery, New York (more…)

Move over vaporetti — there’s a new barge in town. Slated to gracing the banks of the Grand Canal in Venice over the past five days was a project by The Garage Center for Contemporary Culture, entitled “Commercial Break.” The exhibition is organized by Neville Wakefield, a contemporary art writer prolific curator globally. Powered by POST Magazine, “Commercial Break” considers itself to be a provocative architectural intervention in a city where no advertising is traditionally displayed. Unfortunately, as Artinfo reported, the city pulled permits a few days before and the videos were instead screened at the project’s Bauer Hotel party. The woman behind the “GCCC” is Dasha Zukhova, girlfriend of Russian oligarch Roman Abramovich; it is the institution’s second project in Venice.  All videos are now viewable on the exhibition’s website.

Among videos featured is one by  Richard Phillips, starring Lindsey Lohan.

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