Continuous Service Altered Daily is a sprawling, site-engaged sculptural array, or, as David Brooks refers to it, an "asteroid field without a distinctive beginning or end." Brooks has disemboweled a beacon of agricultural technology, a 1976 John Deere combine harvester, into hundreds of individual components, ranging from the iconic and specific to the common and standard. Produced on the occasion of David Brooks: Continuous Service Altered Daily, on view at The Aldrich Contemporary Art Museum May 5, 2016 to February 5, 2017.

David Brooks: Continuous Service Altered Daily

Amy Smith Stewart

The Aldrich Contemporary Art Museum

Anissa Mack's exhibition Junk Kaleidoscope marks the twentieth anniversary of The Fair, a multifaceted project first realized by the artist in 1996 that quickly evolved into an exceptionally generative working methodology. Mack mines Americana, its artifacts, folklore, and rituals, incorporating its rich vernacular traditions to examine the shifting dialogue between the history of art making, its systems of appraisal, and the ethos of collecting. Produced on the occasion of Mack's exhibition at The Aldrich Contemporary Art Museum in 2017, this catalogue features an essay by curator Amy Smith-Stewart.

Anissa Mack: Junk Kaleidoscope

Analia Segal's exhibition contra la pared marks the Argentinean artist's first solo museum presentation in the United States. The artist's recent work expands Segal's interrogation of the boundaries between art, design, and architecture, intertwining the conceptual, aesthetic, and functional nature of objects that inhabit our domestic environments. contra la pared brings together a selection of Segal's sculpture, video, furniture, and textile works to create an environment that resonates with both the familiar and the disquieting. Produced on the occasion of Segal's exhibition at The Aldrich Contemporary Art Museum in 2018, this catalogue features an essay by Interim Co-Director Richard Klein.

Analia Segal: contra la pared

RICHARD KLEIN

Brazilian artist Barrão (born 1959) is best known for his whimsical, somewhat bizarre sculptural clusters and "mash-ups" assembled from fragments of popular vitreous porcelain and ceramic objects. The artist acquires these fragments, once commonly cherished in Brazilian households, by scouting the secondhand stores, flea markets and dumpsters of Rio de Janeiro. When a sufficient quantity of materials has been accumulated, Barrão sorts and classifies the ceramics in his studio, separating them by size, color, function, vessel or ornament. These fragments are then carefully fused into a single sculptural entity, each of which constitutes a sort of a mini-collection--a vibrant magma of explosive visual and tactile qualities. Published for Barrão's 2012 exhibition at The Aldrich Contemporary Art Museum, and with a foreword by Tunga, this volume offers a concise introduction to Barrão's free-flowing associative sculpture.

Barrão: Mashups

Arts & Photography

Ramirez-Montagut, Monica

History & Criticism

Into My World: Recent British Sculpture

Unknown, Author

Never hesitant to explore new territory, Fred Wilson, in a major solo exhibition at The Aldrich Contemporary Art Museum, displays his growing interest in the medium of glass. He has taken the title of the exhibition, Black Like Me, from John Howard Griffin's groundbreaking 1961 book of the same name. A white civil-rights activist, Griffin dyed his skin black and traveled throughout the South to directly understand the nature of racial prejudice. Wilson, invited in 2002 to be an artist-in-residence at the Philchuck Glass School in Washington State, began to work in the medium, leading to his extensive use of it as the United States' representative for the 2003 Venice Biennale. Known for incorporating found objects into his art as a vehicle for cultural and institutional critique, Wilson takes a new, more personal, introspective direction in his exploration of racial and ethnic marginalization.

Fred Wilson: Black Like Me

Klein, Richard

This collection of work by both Native and non-Native artists speaks of the complexity of Native American historical and cultural influences in contemporary culture. Rather than focusing on artists who attempt to maintain strict cultural practices, it brings together a group of artists who engage the larger contemporary art world and are not afraid to step beyond the bounds of tradition. Focusing on a group of 10 artists who came of age since the initial Native Rights movement of the 1960s and 70s, the book emphasizes art that does not so much "look Indian," but incorporates Native content in surprising and innovative ways that defy easy categorization. The Native artists featured here focus on the evolution of cultural traditions. The non-Native artists focus primarily on the history of European colonization in America. Artists include Matthew Buckingham, Lewis deSoto, Peter Edlund, Nicholas Galanin, Jeffrey Gibson, Rigo 23, Duane Slick, Marie Watt, Edie Winograde and Yoram Wolberger.

No Reservations: Native American History and Culture in Contemporary Art

Bordewich, Fergus

Smith, Paul Chaat

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Books by The Aldrich Contemporary Art Museum