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Dec14
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Museums, Galleries & Exhibitions

Exhibitions extended by popular demand: Difference Machines: Technology and Identity in Contemporary Art, Tadao Ando: Spontaneous Sketches, and Daniel Goldstein: The Marks We Leave Behind


The trio of Fall/Winter exhibitions currently mounted at Wrightwood 659 – Difference Machines: Technology and Identity in Contemporary Art, Tadao Ando: Spontaneous Sketches, and Daniel Goldstein: The Marks We Leave Behind – will remain on view through Saturday, January 27, 2024.

As opened to critical acclaim in October, the expansive award-winning Difference Machines: Technology and Identity in Contemporary Art presents a diverse group of 17 international artists and collectives who reimagine the digital tools shaping our lives. Whether they identify as Black, Latinx, Middle Eastern, South Asian, East Asian, Indigenous, queer, or trans, each of them views technology through their own unique lived experiences and artistic perspectives. Difference Machines includes 20 projects – many interactive – spanning the last three decades, from software-based and internet art to animated videos, bioart experiments, digital games, and 3-D printed sculptures. The exhibition is organized by the Buffalo AKG Art Museum in Buffalo, New York, and is co-curated by Tina Rivers Ryan, PhD, curator of the Buffalo AKG Art Museum, and Paul Vanouse, professor at the University at Buffalo.

Also on view, marking the fifth anniversary of Wrightwood 659, is Tadao Ando: Spontaneous Sketches, an exhibition of drawings by the Pritzker Prize-winning architect of Wrightwood 659, Tadao Ando. Ando quickly sketched directly on the walls during the inaugural exhibition at Wrightwood 659, Ando and Le Corbusier: Masters of Architecture (October 12 – December 15, 2018), and the drawings have been carefully preserved and framed. These hand-drawn sketches—all done in blue marker on painted sheetrock—have a spontaneous quality denoting an ephemerality, while their vibrancy expresses Ando’s creative generative process.

Plus, recently opened on World AIDS Day (December 1), is Daniel Goldstein: The Marks We Leave Behind, an exhibition of works from the San Francisco-based artist & HIV/AIDS activist’s iconic “Icarian Series,” which both literally and figuratively evokes the toll of the AIDS epidemic through the ghostly imprint of bodies—once present, now lost—onto the leather cushions of worn gym equipment.


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