Karyn Olivier: Thinking About Monuments, Memory, and Absence By Katie Donaghue July 8, 2020 Upon entering Karyn Olivier’s Everything That’s Alive Moves, which opened at the Institute of Contemporary Art (ICA), University of Pennsylvania in January before closing early due to the COVID-19 pandemic, visitors were asked to pin a white carnation to their clothing.…

Ephemeral Building Structures: Michelle Lopez at the Institute of Contemporary Art, Philadelphia By Michael Queenland for Mousse Magazine May 27, 2020 Artists Michelle Lopez and Michael Queenland—who met in New York and then worked closely together as professors in the Sculpture program at the Yale School of Art—talk about invisibility, image making, the bane of…

Karyn Olivier Subverts the Formal Seriousness of Monuments By Erica Cardwell for Hyperallergic May 6, 2020 Just before the ongoing COVID-19 pandemic forced businesses and institutions across the US to close indefinitely, I was fortunate to visit Karyn Olivier’s recent exhibition, Everything That’s Alive Moves, at the Institute of Contemporary Art. ​​A Philadelphia-based artist whose…

Karyn Olivier: Everything That’s Alive Moves By C.C. McKee for Artforum May 4, 2020 Karyn Olivier’s exhibition at the Institute of Contemporary Art is introduced by a poignant contestation of the monument’s expected forms and subjects: Attendants at the threshold of the gallery invite viewers to take a simple red carnation and a pearl-topped lapel…

Collapse and Equilibrium: Michelle Lopez Interviewed By Olivia Gauthier for BOMB Magazine April 15, 2020 “In Michelle Lopez’s site-specific installation Ballast and Barricades, ladders, scaffolding, rubble, wood, and bits of rock are suspended and carefully placed on the floor of the Institute of Contemporary Art (ICA) in Philadelphia.  “The Philadelphia-based sculptor presents an urban, architectural landscape in flux. It…

Openings: Trevor Shimizu By Joe Bucciero for Artforum April 1, 2020 If much art exists to stimulate admiration, even lust, few artists are as up-front about it as Trevor Shimizu. Pieces throughout his career demonstrate as much: One, from 1999, begins a recent survey, Trevor Shimizu: Performance Artist, at the ICA Philadelphia. It’s the artist’s…

Of Monumental Proportions, Karyn Olivier’s Everything That’s Alive Moves By Alex Smith for Artblog March 23, 2020 Karyn Olivier is an artist creating structures with a lasting impact, building columnar sculptures, sometimes of stunning beauty, and other times of a washed out simplicity that can still inspire. Her pieces invite viewers to think about the…

The metal ballet of Ballast & Barricades at Philadelphia’s Institute of Contemporary Art By Levi Bentley for Artblog February 24, 2020 Walking into the Michelle Lopez show Ballast & Barricades at the ICA is to be shocked by verticality. By the stretch and depth of the space fully used and filled in all dimensions. In…

Trevor Shimizu: Performance Artist By Cristina Sanchez-Kozyreva for Contemporânea January 23, 2020 As an artist whose oeuvre often likes to style itself in a self-deprecating fashion, Trevor Shimizu’s works in Trevor Shimizu: Performance Artist at Kunsthalle Lissabon have a remarkably droll interest in the life of the artiste. The exhibition has the many attributes of…

In Banal Presents, Three Black Artists Intervene in Vast Social Institutions, From the Prison System to Education By Tiana Reid for Art in America December 19, 2019 Banal Presents was the final installment in a trilogy of exhibitions at the Institute of Contemporary Art curated by Meg Onli and titled Colored People Time, after a…