Word: exhibition
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...months after the plant geared up production for it. There have been plenty of problems and more than a few Mickey Mouse alarms along the way, but the auto plant has become a textbook example of how a joint venture in China can succeed--as well as a prime exhibit in the politically charged debate over U.S.-China trade...
Sensation, a controversial collection of contemporary British art, caused a substantial amount of controversy when it hit the Brooklyn Museum of Art last year. The exhibit, which featured animal corpses floating in formaldehyde and several canvasses adorned with elephant dung, prompted many onlookers to ask themselves, "Is this really...
...widely praised, along with Shirin Neshat's "Fervor." The Biennial is in an unusual position: it has to function as a two-year retrospective of contemporary American art while still keeping up with shows like P.S.1's. Aitken's piece, which was featured on the cover of the exhibition catalogue, embodies this trend. Yet the media buzz prior to the opening of the Biennial was not about Aitken or other noteworthy Biennial participants, but about "Sanitation." Haacke's piece has caused a virtual spectacle that has grown to involve New York Mayor Rudolph Giuliani, the Whitney Museum and the artist...
...earlier works, there is no consideration for ecology; every object in "Sanitation" seems unjustifiably placed, like Darwin without niche theory. Never do the rectilinear and exclusionary lines formulate a cohesive composition. All in all, the composition is balanced to the point of fragmentation, making it difficult to view the exhibit as a whole. The only exception to the excess of orthogonality is Haacke's diagonal placement of a framed copy of the First Amendment across the floor of the installation space. Had this object been better tied to Jasper Johns's down-turned flag, an interesting crucifixion motif might have...
...exhibit also seems all but unconcerned with what Haacke does best-what Walter Grasskamp called "the avoidance of the notoriously German theme of carping at the unworthiness of the masses in front of the lonesome triumphs of art." "Sanitation," which signals Haacke's incarnation as the king of cut-and-paste, has neither an aesthetic nor a political leg to stand on. The ideas contained in the exhibit are too focused and yet too disparate to evoke any response, anger or otherwise. No doubt it makes one pine for Haacke's kinetic sculptures, such as 1963-65's "Condensation Cube...