Installation Peer out to see, 2010 (detail). Palacio de Cristal. Parque de El Retiro. Photo: Joaquin Cortes/Roman Lores. Museo Nacional Centro de Arte Reina Sofia.
MADRID.- Visual-verbal puns and rhymes abound in Jessica Stockholder's vibrant art. As things that once seemed familiar and ordinary take on new life, mirroring, echoing and dialoguing with each other in their unlikely new roles, they become imposing, assertive, cheeky, sly, teasing, alluring, whimsical and much more. Never, however, are they routinely pedestrian. Stockholder's world is composed more by association than by conventional forms of analysis. Her works propose that, if we want to examine something, we need to scrutinize, probe, and scan carefully in an intent reading than goes beyond mere glancing and glimpsing: by peering out in this fashion we might, of course, see more than we bargained for: we might end up walking the plank, suspended on a platform above the depths, launched into the unknown - on a pier out at sea.
Sliding seamlessly from the literal to the metaphorical, from the physical to the figurative, so that it weaves a tissue of disjunctive connectives, Stockholder's beguiling form of play has become a hallmark of a practice that now spans some three decades. Deeply serious yet light hearted, witty yet charged, her ludic touch seduces, solicits, coaxes, beckons, and entices its audiences, who frequently find themselves snared and then, on stage, without having been aware of their transition from passive observers to active participants. Such a disarming approach allows her art to "slip[s] across the surface by the most improbable syntagmatic routes, dragging a nebulous cargo of dissembled meaning in its wake", as American critic Jack Bankowsky astutely notes. To the artist, this method partakes of the realms of both conceptualizing and fabricating. "My work often arises in the world like an idea arises in your mind. You don't quite know where it came from or when it got put together. Nevertheless it's possible to take it apart and see that it has an internal logic," she wrote: "I'm trying to get closer to thinking processes as they exist before the idea is fully formed." Unexpected couplings of the abstract (vivid colours and rich textures) and the identifiable (domestic and industrial materials) form the stuff from which both her autonomous sculptures and her site specific installations are made. Purposely purposeless, they all seem designed to facilitate, ease, aid, clarify or otherwise alleviate conditions that though they may not be precisely identifiable are self-evident: we embrace them as things that could belong to our everyday world, or that might seamlessly become part of our local environment.
Stockholder's signature touch is manifest in the larger communal situations she creates through the ways they draw us, as we navigate their carefully choreographed mise-en-scenes, into a shared purview. Passage through their by-ways proves invariably invigorating: intriguing as opposed to reassuring, tonic rather than soporific. This effect derives from the fact that the contexts from which, and for which, her in situ works have been created assume a novel guise, an unexpected dimension, as a consequence of her intervention: scale changes, proportions contract, space elides, depth diminishes, sounds magnify, and light dissolves, bleaches, or bathes, whatever stirs within its compass. Fleeting shifts in our perception require that we reconfigure our preconceptions and presumptions - and so recalibrate what we thought we knew about this place. Testing the waters, so to speak, we may find we are not on solid ground as we supposed. Finding ourselves adrift instead of standing firm, we are constantly required to confront novel options and choices. Preferences and proclivities are called upon - and called into question. Integral if normally suppressed elements in a thought process, these intangibles now register themselves in the conscious mind, making themselves present for scrutiny along with the more tangible intangibles that impact the body - for air, light, and sound animate the pavilion, creating a vortex at whose dynamic centre we find ourselves.
Jessica Stockholder's aesthetic is based in the time-tested attributes of sculpture: solids inhabit space, volumes describe forms, material is subject to gravity, stillness conjures motion. Although manifestly part of a modernist sculptural legacy that stems from Picasso, Schwitters, Rauschenberg and others, her work nonetheless betrays a painter's sensibility: Matisse's is perhaps its closest affiliate. Subtle, resonant, idiosyncratic yet instantly identifiable, Stockholder's singular sense of colour is largely responsible for the undeniable sense of pleasure that radiates from her work, and that separates it from the work of the countless followers who have learnt much from her rigorous yet generous practice.
One of the most influential sculptors of her generation Stockholder, in recent years, has fashioned installations that allow visitors to utilize them to their own ends. As "Peer out to See" demonstrates, these temporary constructions become places for casual conversations between locals and visitors, for improvised games, and for dalliance - in short, they are places to hang out, and give oneself over to the flow and flux. Whether in Madison Square Garden in Manhattan in 2009 (with "Flooded Chambers Maid"), or in the luminous Palacio de Cristal in Madrid's Buen Retiro Park, people drift and idle in similar ways as they make of their serendipitous encounters what they will. Deft explorations of the spatial, structural, social and cultural features of the given environment, Stockholder's most ambitious works leave room for the myriad needs of a shifting audience who may never know to what extent it has become an essential part of the play.
Retrospective of Rirkrit Tiravanija at the Kunsthalle Bielefeld
Tiravanija was born in 1963 as a child of Thai parents in Buenos Aires. He grew up not only in Argentina, and Bangkok, but also in Ethiopia and Canada. After studying art in New York and Chicago, he is still constantly on the road, fulfilling the role model of "Global Artist."The search for cultural identity has always been at the center of his art....
The Kunsthalle Bielefeld publishes under the title "Just Smile and Do not Talk" Tiravanija's recipes from twenty years and is a multi-part retrospective of his works in reference to the temporary kitchen. As a catalog in the Edition Hansjorg Mayer, a colored, numbered and signed cookbook for the price of 28 Euros, -.(Kunsthalle Bielefeld) (Kunsthalle Bielefeld)
Giant bell unveiled as region's latest piece of public art
A GIANT bell cast from the metal of a decommissioned RAF Tornado warplane has been unveiled as the region's latest piece of public art.
Turner Prize nominee Fiona Banner has installed the piece on Gateshead's Quayside, which opens to the public on Saturday and can be rung by passers by.
The Tornado F3, which was once stationed at RAF Leeming in North Yorkshire, has lain without wings in a Seaham scrapyard until it was found by the artist.
Around 1.5 tonnes of aluminium from the fighter was sent to one of the world's oldest surviving bell foundries in Leicestershire, and transformed into the work of art, named ZE 728 after the Tornado's serial number.
The artist said: "I remember the first military object I got excited about. My grandfather's flat in Birkenhead was full of war memorabilia.
"When I was very young, and when he wasn't looking, I used to climb up onto his chair and ring the big bell he had salvaged from a warship.
"The feeling of power that came from it was incredible - the sound, and the space around it was way bigger than me."
The sculpture will be on display at Hillgate Quay, Gateshead until September 5, with the opening times to coincide with the Cultural Olympiad's Open Weekend of July 24 and 25.
Newcastle-based art project Locus+ has been working on the project.
Director John Bewley said: "The Ministry of Defence has a department that looks after selling on decommissioned equipment so you can actually buy stuff when it comes to the end of its life and has been made safe.
"Some weapons have depleted uranium in them and that obviously has to be removed."
Tornado is a temporary public sculpture by Fiona Banner which involves the physical and conceptual transformation of a recently decommissioned RAF Tornado jet fighter into a large single bell.
Tornado has been commissioned by the Great North Run Culture and Locus+
and will be situated next to the River Tyne at the Hillgate Quay in Gateshead.
A conversation with Alex Coles, Chair of Fine Arts at discoverer
College of Art and Design and Jorge Pardo. Among the subjects discussed is
Art/Design and Design/Art. Also shown and discussed are individual structures
and interiors by Pardo.
Kerry Tribe presents her first major exhibition in Europe at Arnolfini this summer. Tribe's large-scale projects in film, video and sound form an ongoing investigation into memory, subjectivity and doubt. Dead Star Light consists of three works related to questions of personal and historical memory, and their converse, erasure and forgetting. The works Parnassius Mnemosyne, Milton Torres Sees a Ghost, and The Last Soviet take shape using different technology - 16mm film, reel-to-reel audio and video - and try to structurally engage with their media in innovative ways. Also presented here is a selectino of Tribe's existing works.
Jessica Stockholder
14 July - Feb, 2011
Reina Sofia, Madrid
One of the most influential sculptors of her generation Stockholder, in recent years, has fashioned installations that allow visitors to utilize them to their own ends. As "Peer out to See" demonstrates, these temporary constructions become places for casual conversations between locals and visitors, for improvised games, and for dalliance - in short, they are places to hang out, and give oneself over to the flow and flux. Whether in Madison Square Garden in Manhattan in 2009 (with "Flooded Chambers Maid"), or in the luminous Palacio de Cristal in Madrid's Buen Retiro Park, people drift and idle in similar ways as they make of their serendipitous encounters what they will. Deft explorations of the spatial, structural, social and cultural features of the given environment, Stockholder's most ambitious works leave room for the myriad needs of a shifting audience who may never know to what extent it has become an essential part of the play.
This past year, Uta Barth moved for the first time in 18 years. While packing up and leafing through her possessions, she came across some photographs she had never shown, and in fact had completely forgotten about. Made between 1979 and 1982, during her last year of college and her first months in graduate school at University of California, Los Angeles, the small black-and-white images were displayed in the gallery's bottom floor rooms. The images included studies of a ribbon of sunlight gleaming beneath a heavy curtain, shadows of legs in a rectangle of light, portraits of the artist with three-fourths of her body in shadow and then in brightness, empty chairs, a field of snow with just a few naked twigs, and a series of banal objects (a newspaper, wires, a ladder) moved around a room. Barth stated, in the gallery's accompanying monograph, that she was deeply pleased to discover that the elements she has ardently pursued in her work - tracking time, tracing light, vacant centres, minimal and peripheral content - were present nearly 30 years ago. This show, with older, forgotten work on the first floor and a new series upstairs, presents the bookends to a remarkably consistent, and distilled practice.
Uta Barth, Untitled #3, 1979-82/2010, inkjet print, 23 x 29 cm.Courtesy 1301PE, Los Angeles
In the past few decades, Barth has become known for contemplative photographs of domestic scenes devoid of action, let alone humans. Golden slices of sunlight spill neatly onto floors and furniture embodying the serenity of late afternoons spent watching the room slowly change, while her studies of flowers and branches in vases hum with a reverence for the simple beauty found in observing the everyday. Barth has long followed the Zen notion of what she calls a 'choice of no choice': she refrains from intentionally seeking out photographic subjects and instead turns her camera towards what is already around her - the sundial of her home. Through this disciplined practice, her work highlights the act of seeing as an autonomous undertaking. She does not seek out things in order to make a photograph, she makes photographs of what she happens to see.
Uta Barth, Untitled #5, 1979-82/2010, inkjet print, 23 x 29 cm.Courtesy 1301PE, Los Angeles
Upstairs were diptychs, and one triptych, of tree branches twinned with the artist's shadow cast across a street or sidewalk. This signals a significant departure from the past ten years of Barth's working solely inside (a confinement that conjures another housebound creative mind, Emily Dickinson, who was also captivated by 'a certain slant of light' in which 'shadows hold their breath'). Barth wandered outside and pointed her camera up, and then down. Sometimes the artist's feet are visible along with the two long shadows of her legs cast against the grain of asphalt-dark lines creating angles as they cross sidewalk cracks or the dividing paint on a street. The tree branches are all set against a stark white sky, photographed so that only the centre of the image is in focus, the rest of the splintering branches, leaves or berries blurring into near abstraction. The result is a surreal, almost artificially constructed version of the branches, reminiscent of JoAnn Verburg's uncanny portraits of olive trees. Occasionally Barth takes further liberties with representation, as in two prints where the negative images of her legs' shadows throw chalky white lines across the darkened pavement, a reminder that we are looking at an imprint of light, not the world.
Uta Barth, Untitled, 2010, mounted colour photographs, 2 panels, 105 x 82 cm, 105 x 118 cm.Courtesy 1301PE, Los Angeles
The title of this show, appropriately, is another Zen koan made popular among the art crowd by Lawrence Weschler's brilliant book about Robert Irwin. (Both Irwin and Barth also share a debt to the local light, so raucously present here.) Barth described her recent perambulations outside as without destination, aimed only at seeing - thus we never look straight ahead, but only at what light and shadow are doing above and below the artist's body. For more than 30 years Barth has stayed true to a pursuit of perception, each portrait capturing time, light and, yes, even being with exquisite grace.
Uta Barth, Seeing Is Forgetting the Name of the Thing One Sees, was on view at 1301PE, Los Angeles, from 1 May to 2 July
"The exhibition "peak to see" by American artist Jessica Stockholder, turns inside the Crystal Palace, located in Madrid's Buen Retiro park, on a pier overlooking the sea, an image that "recreates" the outside and allows the interaction of the visitors."
Tate Britain has unveiled its new Duveens Commission, Harrier and Jaguar, by Fiona Banner.
Banner's largest work to date, Harrier and Jaguar brings the highly-charged physicality of two real fighter jets, both recently in active military service, into the unexpected setting of the neoclassical Duveen Galleries.
Press coverage:
"Banner's Harrier and Jaguar has upped the ante both of her own art, and of the Duveens commissions. This is more than a familiar transposition of two readymade objects from the hangar or the war zone into Tate Britain's neoclassical galleries. It is a timely and well-placed work, which enters into a dialogue not just with the decorum of its architecture, but also with space." - Adrian Searle, The Guardian, 28/6/2010
She has filmed a helicopter ballet, melted a jet and caused a storm by transcribing a porn epic. Will Fiona Banner's latest work go further?
Rising up through the middle of Fiona Banner's two-storey studio is the upturned wing of a Tornado fighter plane. From the first floor, you can see its tip, slicing ominously through the floorboards like an oversized shark fin. If you lean in close, you can make out hundreds of words etched like hieroglyphics into the wing's smooth metal: "arse", "shadow", "light behind stark against dark skin".
This is Tornado Nude, a work Banner made four years ago: a female life model stood naked in front of her while she painted a description on to the wing of a decommissioned jet. "The Tornado," Banner tells me as she shows me around this high-ceilinged east London space, in which her many works are propped against walls and arranged neatly on tables (a plant sits on a sun-terrace in an old aircraft propeller), "is a really, really important and very vicious airplane. And then I engraved this very delicate and traditional life drawing on to it, in words, and now that's become part of it. It's become this totem, this sculpture possibly an object you might even worship."
Object of veneration or not, Tornado Nude embodies the preoccupations for which Banner is best known: sex, nudity and war. She has, variously, created a catalogue of every fighter plane currently in use by the British military; published a 1,000-page book containing frame-by-frame descriptions of Vietnam war movies (she calls these "wordscapes" or "still films"); and written a "striptease in words" of the actor Samantha Morton's naked body. In 2002, Banner was nominated for the Turner prize. Her exhibition for the nominees' show included Arsewoman in Wonderland, a no-holds-barred description in words of a porn film of the same name, screenprinted in pink ink on a white billboard and duly displayed at Tate Britain. There was a predictable flurry of outrage; the then culture minister Kim Howells, commenting on the exhibition as a whole, scrawled "conceptual bullshit" across a Tate comment card and pinned it to the visitors' wall.
Undeterred, Banner is returning to Tate Britain next week, where she will unveil a new work commissioned for the museum's two central neoclassical Duveen galleries. Previous artists who have stepped up to this challenge include Martin Creed, who in 2008 sent a series of runners sprinting through the crowds at 30-second intervals; and Anya Gallaccio, who in 2002 filled one gallery with oak trees, and the other with a carpet of sugar. Banner is not allowed to tell me what she'll be doing - all will be revealed next Monday - and can only point to her official statement, that she is looking forward to "working with the phallic pillars of this extraordinary grandiose space". But she can tell me what she won't be doing, which is "exhibit[ing] an entire Westland Lynx helicopter that saw service in the Falkands war", as her Wikipedia entry erroneously had it (it has since been corrected). "That's so weird!" she says in a stage whisper, blue eyes widening. "That's not my plan - though I did recently try to buy a Westland Lynx helicopter. But I bought a Tornado instead."
In person, Banner is not at all what you might expect of a sometime porn consumer, war-film aficionado and collector of military aircraft: dressed all in blue - blue shirt, blue jeans, blue jacket - she is wiry and casually elegant, with a direct, easy charm. Her work, too, is quieter, more delicate, intimate and many-layered, than its headline-grabbing subject matter might suggest.
On the ground floor of her studio, Banner shows me All the World's Fighter Planes, a work that was 10 years in the making, and which she completed last year. It's a glass case filled with pictures of aircraft cut haphazardly from newspapers, each one meticulously labelled like an animal specimen: Hawk, Harrier, Bear, Chinook. "I started making this years ago," she says. "I'd been cutting out pictures of fighter planes from newspapers for a while, and realised I'd started a collection. I became strangely excited by the idea that they all had these names from nature. On one level I find these planes incredibly beautiful, but on another level I'm horrified by them."
The ungainly Chinook (in nature, either a kind of wind or a Native American people) is a particular favourite. Banner has spent the last few months at airshows at RAF Odiham in Hampshire, filming pilots perform an unlikely "Chinook ballet" for a new work. "The Chinook is really bizarre," she says. "It's so inelegant, it looks like it shouldn't be able to fly. In the ballet, they've given the Chinooks certain movements - a turn, a sidestep, a double-twist. It's the most extraordinary thing."
Jorge Pardo presented at the Cathedral of Burgos 'Partnerships', about man's salvation
06/25/1910 - NORTHERN DIGITAL | BURGOS
The exhibition project 'Siglo XXI. Art in the Cathedral of Burgos' reaches its sixth edition with 'Alliance', a proposal by the Cuban-American artist Jorge Pardo (Havana, 1963). Pardo, whose work reflects on the boundaries between sculpture, architecture and design, proposed in 'Partnerships' an approach to the history of man's salvation through the symbolism of light. The exhibition, curated by Emilio Navarro, was inaugurated last June 24 and runs until 5 September. Revelation constitutes the starting point to a single offender and work, offering a re-reading the concepts of the sacred scriptures and alliances materialized between God and man. The tour begins in Room Valentin Palencia, a space where the visitor is guided by diffuse light signals are projected onto the floor like artificial shadows. The gloom of this room leads to a different intervention, which presents the viewer the New Covenant, the final light. The fullness awaits visitors in the courtyard of the cloister, where the New Covenant. With all this, 'Alliances' that becomes a symbolic journey through the history of salvation, a journey through history that distills the inescapable commitment of God to man. Jorge Pardo presents an approach to the reality of Revelation-a history of salvation of man, using the symbolism of light.
The Van Abbemuseum invited the Danish artist collective, SUPERFLEX to work with the museum's collection. They have responded with the exhibition In-between Minimalisms and a new work, FREE SOL LEWITT - an installation made specially for the second part of Play Van Abbe.
With FREE SOL LEWITT, the artists playfully ask the Van Abbemuseum to 'set free' the work Untitled (Wall Structure), 1972, of the American artist, Sol LeWitt. SUPERFLEX has set-up a metal workshop inside the museum in which exact replicas of this artwork by Sol LeWitt are made. The copies will then be distributed free-of-charge to the public through a random system which visitors to the museum can sign-up for.
Pae White's cluttered hilltop studio in Pasadena feels like the calm after a storm. About the size of a two-car garage, it is filled with muted California sunshine and animated by the sound of White's dog barking at gardeners working on the beautifully landscaped property, next to Ernest E. Debs Park.
"If you care to see another poetic presentation of images chosen seemingly at random, treat yourself to an exquisite exhibition of photographs by LA-based artist Uta Barth at Gallery 1301 PE.Along with older, never seen before, small black and white images, she shows large new color diptychs and triptychs, but in the thirty years that separates these bodies of work, the essence of her vision remains the same: she directs our attention to spaces and objects at the edge of our perception which makes for a surprisingly satisfying aesthetic encounter.
So whether it's a mere glimpse of her feet observed from above, or the branch of a blossoming tree shot from below, you find yourself basking in the beauty and ambiguity of seemingly randomly juxtaposed images, trying to resolve the mystery of their coexistence."
"Five years ago, Judy Ledgerwood stopped painting before reaching the edge of her canvases, leaving white borders of varying regularity that make her paintings (as she has remarked) less like objects and more like walls themselves: stable if not permanent architectural structures that enable even the most weighty application of paint to look momentary. In this her work brings to mind John Wesley, master of not only the white-bordered painting-as-a-box but also the blissful heaviness that surprisingly can be found in absolute lightness" as well as, of course, his killer colours. Weight, in Ledgerwood's work, is as psychological as it is material: various thicknesses of oil paint (or in one instance, encaustic), vibrant and deliberately clashing colours, and aggressively intricate patterns come together in eye-boggling combinations that simultaneously catch and release her imagery as if it were rays of light moving across a room. Ledgerwood has pulled out all the stops in this exhibition, taking advantage of the gallery's two floors to move us through the 'story' of her work, a narrative supported by the formal mainstays of modernist abstraction yet driven by an unrelenting, even badass attitude.
"If I would add up my own list of bullet points, I would say a Ledgerwood is an interesting blend of optics (how your visual hardware works on a scientific level), the tension between decoration and abstraction (a jargony trap which I'll discuss in a minute), and handmade joy. They are bright patterns, undulating like vertical waves at times, folding in on themselves at others, wrapping, and sometimes suspending their movements like fabric swinging from a laundry line. The smallest ones, my favorite being Tangarine sun and summer sea, 2010 (seen above) invite the eye almost like a pulsing button, growing bright then dark, waiting to be pushed, needing to be pushed, though the reason is unclear."
"Over the last twenty years, Uta Barth has been steadily producing a body of work that stands apart from the dominate trajectory of photography. That trajectory has always been rooted in making a visual record of things in the world. This descriptive function of photography is so fundamental to our understanding of what the medium is and does that it can be hard even to register alternative approaches. Certainly we can see the traces of the visible world in Barth's photographs. They are not exercises in abstraction. Nonetheless, description of the world is not her primary aim. Instead, Barth is interested in pursuing issues of perception: of how we see as much or more than what we see."
"Sometimes the simplest work of art can make the most profound impression.This is certainly well illustrated by Diana Thater's new film installation, Between Science and Magic (2010)."
The California artist
will be creating Europe's biggest neon installation in a tube station
Los Angeles artist Pae
White hopes to bring a dose of Californian sunshine to gloomy London commuters
this year, by creating Europe's biggest neon installation at Gloucester Road
tube station.
"I want to bring
daylight to the underground," said White about the intervention, which
will stand at an estimated 260 feet long and 12 feet high. "Imagine a
giant Persian rug as a line drawingthat's what I want to create in neon," said
the artist, who will install more than 2,000 neon tubes.
The work, due to open at
the end of the summer, will be in situ for three years and has been
commissioned by Art on the Under ground, whose previous collaborations include
work by Richard Long and Jeremy Deller.
How will the project,
which White describes as "like a giant SAD [Seasonal Affective Disorder]
light", affect travellers in the wet-weather city? "I don't
know," she said. "But, wouldn't it be great to spread a five-second
glow of optimism through a tube carriage?"
Pae White lives and works in Los Angeles, USA.
Her work is included in the 2010 Whitney Biennial and she has been
commissioned by Art on the Underground to create a new work for
Gloucester Road tube station in London, which will be installed later
this year.
What should change?
All forms of animal cruelty should be considered a felony and, in some
cases, punishable by death.
What images keep you company in the space where you work?
See a selection of them above.
What was the first piece of art that really mattered to you?
In 1970, my mom took me to the Pasadena Art Museum where I experienced
DeWain Valentine’s resin discs. I immediately understood them to be
decapitated lollipops. They were huge and I was small and I wanted to be
inside of them; I wanted my mouth all over them, but I could not get
near them. It was torture, yet my poor mother had to drag me out of that
room.
If you could live with only one piece of art what would it be?
Félix González-Torres’ billboard of a bird in the sky, Untitled
(1995).
What is your favourite title of an art work? The Inconsolable Wailing of the Damned, Part II (2007). It’s
one of my own works, so maybe that’s off limits?
What do you wish you knew?
The recipe for the cold tofu served at Mandarette Cafe on Beverly
Boulevard in Los Angeles.
What should stay the same?
My dog KeeBeeFee. I wish she would never die.
What could you imagine doing if you didn’t do what you do?
I’d be a helicopter pilot.
What music are you listening to?
My older sister died last month. While she was ailing, I put together a
‘Lisa’ mix in an attempt to reach her through the music I knew she
loved. This included Neil Young, Gentle Giant, Led Zeppelin, Morrissey,
Jethro Tull, Steely Dan and lots of Pat Metheny. Now I use that same mix
to trigger memories of her. I am always amazed how embedded images can
be released with just a few forgotten notes.
What are you reading?
It’s probably not fair to mention the books I intend to read that are in
two vertical piles by my bed. To be honest, the last things I read were
boring, tedious, horrible project contracts.
What do you like the look of?
Raw cosmetics.
What is art for?
Engagement. It should have the ability to transfix – whether it be
conceptually, materially, visually, politically, intellectually,
viscerally, poetically, loudly, quietly … whatever. It just can’t be
inert.
Diana Thater's exhibition "Between Science and Magic" currently at the Santa Monica Museum of Art comes down April 17 2010.
"Although revealing the crew in this moment does serve to distance the piece from the slick universe of "movie magic," it simultaneously decreases the distance between the viewer and the work. Suddenly, you find yourself in on the joke, becoming privy to the "science" behind Thater's "magic." And in that moment, the work feels satisfying and generous, despite its aura of austerity."
MoPA's Photo Forum Presents Artist Talk with UTA BARTH Thursday, March 25, 7 pm Free to Members, Students $6, General $8
Join the Museum of Photographic Arts for an artist talk with State of Mind artist Uta Barth. Through quiet meditations on the familiar, Uta Barth's photographic works explore our visual perceptions of memory and emotion.
John Reynolds, presents NOMADOLOGY [Loitering with Intent], an accumulation of recent work exploring the power of words, at the Govett-Brewster from 27 March to 13 June 2010.
Taking full advantage of the unique indoor and outdoor spaces of the Gallery, Reynolds explores his predilection for practical language with a considered nod to the jetstream trails of philosophy.
John Reynolds says, "I am thrilled and delighted to have such a central role in the celebrations for the Govett-Brewster's fortieth year, a Gallery that has been a shining beacon for the contemporary art practice in New Zealand for four decades."
"To be given the excellent Gallery spaces to work in and to have my new and recent works sit alongside Len Lye's Trilogy is a tremendous honour. It will be a highlight of the year for me, and crucially poised between projects in New York and Beijing."
Rather than a retrospective, Reynolds' exhibition presents recent work from 2009 and 2010, including seven new works created especially for the Govett-Brewster.
Govett-Brewster Director Rhana Devenport says about the exhibition, "NOMADOLOGY [Loitering with Intent] toils with signs, handwritten lists and demarcations of text and territories; lines of drift set to a longer song of homelessness."
"Plucked from sources as far afield as the index from A Thousand Plateaus - Gilles Deleuze and Felix Guattari's oft-quoted post-modern reference from 1980 - to the entire listing from the New Plymouth street directory; Reynolds' lists are recast as ciphers to poetic possibility."
"Two works are in direct response to the invitation from the Gallery; From Real Time to NOMADOLOGY [Loitering with Intent] lists forty years of exhibition making at the Govett-Brewster, while By the roads and fields is a homage to place and memory in its alphabetical listing of every New Plymouth street name," says Devenport.
Reynolds casts his net wide, trawling from the everyday to the obscure. Band set lists, song lyrics, lists of dead philosophers, the top ten auction prices for New Zealand art, and the twitter version of literature classics all find their way into this sweeping open-ended conversation about contemporary language systems and meaning.
Reynolds' material forms range from stacked, hand drawn canvases, to manufactured road signs, writing on walls and fairy lights, to flashing LED motorway signs. He reminds us of use and usefulness, of glitches, gaffs, coincidence, history, danger and exquisite moments of beauty.
The exhibition will also spill out on to the road in front of the Gallery. TO DIE LAUGHING, a new LED motorway sign work listing dead philosophers names and the often ironic ways in which they died, will reside on the street in front of the Gallery for the duration of the exhibition.
"It will hopefully act as a powerful, yet cautionary, LED magnet drawing visitors into the Gallery from the street outside," says Reynolds.
Following on from his
notable participation in the group exhibition all hawaii eNtrees / luNar reGGae
at the Irish Museum of Modern Art (IMMA) 2006, Cuban-American artist Jorge
Pardo returns to IMMA with his first major solo exhibition in Ireland. The
Pardo installation is part of an larger project which includes some 20 works in
a variety of media from film and video to painting and installation, and will
comprise new and recent work sourced directly from the artists' studios and
selected private international collections. Artists from right across Europe,
the USA, Central and South America are represented, with most of them showing
their work for the first time in Ireland. Artists include Anri Sala, Carsten
Holler, Jorge Pardo, Dominique Gonzalez Forester, Rirkrit Tiravanija, Doug
Aitken, Douglas Gordon, Liam Gillick, Sarah Lucas, Alighiero e Boetti, Maurizio
Cattelan, Sarah Morris, Cerith Wyn Evans and Michel Majerus.
One of the most
influential artists of his generation, Pardo utilises and explores new media
and the future of art within new technology to present an exhibition which is
at the forefront of art practice today. The result is a highly conceptual
virtual retrospective comprising photomural wallpaper that covers the walls of
the entire East Wing Galleries. This features images of Pardo's work from
throughout his career, including sculpture, installations, design and
architecture. There are no 3D objects. Instead, every aspect of the exhibition,
including labels and wall texts, is incorporated into the wallpaper, which also
features influences on Pardo's work and reads like a pictorial history of the
development of his practice.
Part one of six part
series Skype Session with Jorge Pardo & IMMA
"Published by Hudson Hills Press and compiled over several years by the art consultant Sharon Coplan Hurowitz, the book indexes every format Baldessari has used in his extensive printmaking, which has included etchings, lithographs, album covers, posters, billboards and books. For one work, 'Two Nude Women Perched on a Rock,' Baldessari covered the faces with yellow and blue dots; the rock, outlined in red, looks uncannily like a big nose. 'Paradise,' two adjoining black-and-white tropical beach scenes, doesn't look so heavenly with primary-colored bodies falling from the sky like human rain. Among the ceramics are 'Repository,' lozenge-like urinals in decorator colors.
'Inexpensive art should be available to all,' Baldessari writes in a foreword that should sound sweet to recession-weary ears. 'And printmaking is an excellent answer.'"
How Many Billboards? Film
and Video Screenings Program 1
03.11.10 6:30 PM
MOCA Grand Avenue,
Ahmanson Auditorium
In conjunction with the MAK Center for Art and Architectures exhibition How Many Billboards?, MOCA will screen a two-part series of films and video exploring advertising, media, and popular culture. Program one (total running time 111 min.) features: Studio Visit (2009, DVD, 12 min.) by Eileen Cowin; The Desert People (1977, 16mm, 50 min.) by David Lamelas; A Short Film of Laos (2006, DV cam, 45 min.) by Allan Sekula; and Northern Lights (Cambridge) (2005, 16mm, 4 min.) by Kerry Tribe.
During the show's run, the museum's programming will turn the galleries into an appropriately Arad-esque hive of activity, with tours, talks, and parties organized around the designer's own idiosyncratic tastes. Intellectual links, meanwhile, will be forged in panel discussions featuring guests like Katharine Hamnett, Peter Saville, Simon de Pury, Pae White, and White Cube's Tim Marlow. On view through May 16 at London's Barbican Art Gallery.
The upcoming edition of ARCOmadrid will feature Los Angeles as guest city. The fair will play host to a selection of galleries and artists made by Kris Kuramitsu, independent curator, and Christopher Miles, artist, critic and curator. The selection will showcase the contemporary art scene in Los Angeles today. 1301PE will exhibit work by Jorge Pardo, Diana Thater, and Kirsten Everberg.
Kerry Tribe Billboard on corner of La Brea Blvd and Venice Blvd.
The MAK Center for Art and Architecture at the Schindler House is pleased to present its most ambitious project to date: How Many Billboards? Art in Stead. This large-scale urban exhibition debuts 21 newly commissioned works by leading contemporary artists, presented simultaneously on billboards in Los Angeles in February and March 2010.
Jorge Pardo at Irish Museum of Modern Art February 16 - May 3 2010
The Irish Museum of Modern Art presents, in chronological order, all of the Jorge Pardo's work since the late 1980s, ranging from sculpture and installations to design and architecture. It includes such major projects as Oliver, Oliver, Oliver, an outdoor cinema pavilion created in Braunschweig , Germany , in 2004, and Untitled (Pleasure Boat), a luxury cruise boat built as a functional sculpture in 2005. Every aspect of the exhibition, including labels and wall texts, is incorporated into the wallpaper. On entering the gallery space the viewer is taken on a journey not only through Pardo's career but also through a social history of his adopted city of Los Angeles , with headlines from the LA Times and photographs of exhibition openings and the architecture of Los Angeles.
Diana Thater: Between Science and Magic January 16 - April 17 2010
Diana Thater's film Between Science and Magic, currently at the Santa Monica Museum of Art, is a simple, and beautiful, interpretation of "movie magic"-a century-old expression that still conjures the mythology of Hollywood filmmaking. Thater's project is conceived as a brief history of cinema.
For the premiere of Art Basel Miami Beach's Oceanfront, Pae White has created an immersive and interactive cityscape, providing a new experience with each visit. By day, large color blocks will dominate the landscape. At night, these color blocks transform into a shadowy group of buildings that house various merchants and performers. In addition to this labyrinth-like metropolis on the sand, White will design a stage area that will host the morning Art Basel Conversations and the evening Art Video, Art Film, and Art Perform programs.
Artists announced for the 2010 Whitney Biennial February 25 - May 30 2010
Pae White and Kerry Tribe have been included in the 2010 Whitney Biennial. This year marks the seventy-fifth edition of the Whitney’s signature exhibition. This exhibition “simply titled 2010” embodies a cross section of contemporary art production rather than a specific theme. To underscore the idea of time as an element of the Biennial and to demonstrate the influence of the past on 2010, familiar and less well-known artists from previous exhibitions are brought together in Collecting Biennials, an accompanying installation drawn from the Museum’s collection on view on the fifth floor. Balancing different media ranging from painting and sculpture to video, photography, performance, and installation, 2010 also serves as a two-way telescope through which the Whitney’s past and future can be observed.
With powerful, confident gestures, Judy Ledgerwood fills her gigantic canvases with rows of large forms, such as circles and loops, which initially recall such male-dominated styles as Abstract Realism or Pop art. But Ledgerwood's formal vocabulary is also full of references to ornamental and crafts traditions and decorative color combinations.
Diana Thater: Butterflies and Other People October 24, 2009 - February 14, 2010
The Santa Barbara Museum of Art presents an exhibition by internationally recognized film and video pioneer, Diana Thater, featuring two recent video installations that render the gallery space as landscape, utilizing the existing architecture of two Museum galleries to create color- and light-saturated environments and projections.
Uta Barth (born 1958 in Berlin) is a contemporary photographer who lives and works in Los Angeles. Barth was a recipient of the John Simon Guggenheim Fellowship in 2004-05.
Uta Barth's work is represented in numerous public and private collections worldwide, including the Museum of Modern Art, the Metropolitan Museum of Art, the Guggenheim Museum, and the Whitney Museum of American Art in New York; the Tate Gallery, London; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles.[citation needed] Her work is exhibited regularly and has been shown in one-person and group exhibitions in galleries and museums throughout the US and Europe including New York, London, Tokyo, Los Angeles, Stockholm, Dusseldorf, Bilbao, and San Francisco.
Uta Barth was named a 2007 USA Broad Foundation Fellow and awarded a $50,000 grant by United States Artists, a public charity that supports and promotes the work of American artists.
