August, 2011

Ingrid Calame

At the entrance to the gallery’s first level of Ingrid Calame‘s solo exhibition at The Fruitmarket Gallery in Edinburgh, the pale green enamel of sspspss…UM biddle BOP appear like forceful strokes and splatters that drip down the wall, unfolding across the ground. Though emerging as paintings with energetic and abstract shapes, Calame’s works evolve from a painstaking process that originates from the representation of cracks[…..]

At Home on the Edge: Interview with Aideen Barry

All of Aideen Barry’s work exists in a very fragile balance: a woman performs domestic tasks while levitating; a sculpture promises both the control of cleanliness and the chaos of an explosion; women in flowing red dresses dance on water in giant floating plastic balls, all the while falling comically—and using up the oxygen in the sealed sphere.  At each viewing of her work I,[…..]

From the DS Archives: Maurizio Cattelan: Is There Life Before Death?

This week’s pick from the DS archives features Italian-born artist, Maurizio Cattelan. Cattelan has an upcoming retrospective exhibit at the Guggenheim opening on November 4 2011, until January 22, 2012. The following article was originally published on June 9, 2010 by Noah Simblist. Courtesy: Marian Goodman Gallery, New York, Photo credit: Zeno Zotti A myth is a foundational narrative that may be based in truth or[…..]

We who saw signs

In what sort of hybridised mise-en-scene can a human-puppet, man-made flowers (or they could just be gigantic paper-clips) and a bellman’s trolleys co-exist? Finding explanations of deliberate instability in Ola Vasijeva’s Alchimie Du Verbe (2009) compositional decisions are likely to be as vexing as sorting through a storehouse populated with random artefacts that come with no cataloguing labels. We who saw signs presents works that[…..]

Touchy Feely on a Hot Day

L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Every art space I visited last weekend was particularly hot. The Museum of Public Fiction was muggy. So was Monte Vista Projects, and Human Resources L.A.’s Cottage Home space was definitely hotter inside than out. Because the Human Resources space is so big and its current show, Touchy Feely, sort of feels[…..]

The Curtain Call

Summer tends to be a time of spectacle in London – massive installations, blockbuster shows, international festivals and grand theatrical events. With smaller galleries closed and many leaving for a break from the claustrophobic city and intellectual rigour, the spectacle is relied upon to attract the attention of the audience who remain. Israeli designer Ron Arad’s massive undertaking at the Roundhouse, aptly titled Curtain Call,[…..]

Kurt Schwitters: Color and Collage at the Berkeley Art Museum

For the first time in 26 years, an overview of Kurt Schwitters’ work is touring the US, and the Berkeley Art Museum is the exhibition’s only west-coast venue.  Kurt Schwitters: Color and Collage spans the artist’s output between 1918 and 1947, and includes collages, assemblages, sculpture, and the reconstruction of the architectural/sculptural installation Merzbau, which was destroyed when the Allies bombed Hannover in 1943.  Schwitters[…..]