From assassinations to CIA mind control: new show investigates how artists tackle conspiracy theories

The Art Newspaper
By Victoria Stapley-Brown
September 14, 2018

“When you don’t have all the information, you’re left to fill in the blanks, and so people come up with these crazy theories,” says Doug Eklund, the co-curator of possibly the first ever exhibition to tackle art and conspiracy theories. “The way that I look at the subject of conspiracy is, it’s about aspects of history that are hidden,” Eklund says. “I think of it as almost a political occult.”

Everything Is Connected: Art and Conspiracy at the Met Breuer includes around 70 works by 30 artists, made between 1969 and 2016 (up to, but not including, the last presidential election), looking at covert power and the ways governments and citizens interact.”

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“Pictures for an exhibition: Alone together” at MAC Montreal

By Blouin Artinfo
July 10, 2018

“Alone Together” at MAC Musee d’art contemporain de Montreal (MAC Montreal), an installment of pictures for its evolving cycle of exhibitions “Pictures for an Exhibition” brings together works by four Canadian artists — Sarah Anne JohnsonGraeme PattersonJon Rafman, and Jeremy Shaw belonging to the same generation.
Delving on the simple yet complex phrase “Alone Together,” the exhibition explores how one expresses themselves is this era of unparalleled connectivity, where solitude, a necessity to our core being, is scarce.
Sarah Anne Johnson visits a music festival and creates a photographic record of modern-day Dionysian celebrations, collective rituals where social intoxicated freedom replaces social norms. Her work ‘Field Trip’ combines euphoria and psychedelia.”
For a full press release, click here.

Sarah Anne Johnson: Rosy-Fingered Dawn at Julie Saul Gallery

By Diana McClure
June, 2018

“In her latest body of work, on view at Julie Saul Gallery through June 23, Sarah Anne Johnson uses photographs as canvases to expose the ephemerality of innocence, adorning her sublime landscapes with unconventional materials, including cotton balls, artificial flowers or spray paint, that speak to both play and longing.

Several of the landscape photographs on view include kaleidoscopic, colored stickers placed over images of water and sky. In two instances – Sunset #2 (Bedazzled), 2018, and Apocalypse, 2018 – the collage-like additions, made from holographic tape, resemble clouds suspended over bodies of water at sunset. The holographic tape has a playful quality that gives evidence of human intervention and contrasts with the emptiness of the seascapes. An additional wash of black acrylic paint drips down the surface of Apocalypse, suggesting a dystopic take on contemporary environmental issues.”

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