L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Artist Craig Kauffman had been living in Europe and was on his way home to L.A. in the early 1960s when he stopped in New York and saw the work of former friend and neighbor, Billy Al Bengston, on view at Martha Jackson Gallery. Bengston, one of L.A. cool motorcycle-savvy surfer artists[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Pacific Standard Time, a nearly year-long paean to SoCal art history, has barely begun and, already, I’m experiencing PST fatigue. Funded by the Getty Institute and the result of at least a decade’s worth of scholarship by the Getty researchers and others, PST will include 60 or so exhibitions and more artists[…..]
Nathaniel Mellors and Chris Bloor’s current show :Hypercolon : at SMART Project Space in Amsterdam, is a labyrinth of humorous narratives with a penchant for satire and the grotesque. Mellors and Bloor cleverly incorporate the SMART project Space’s historical function as a morgue, as a starting point to create a narrative framework that pushes and manipulates the relationship between artwork and audience. Each exhibition space is[…..]
This week, we take a trip down memory lane with Aleksandra Mir. Mir’s internationally “Venetian” postcard designs were featured in the 53rd Venice Biennale. Currently on view through October 9, 2011, Mir’s video piece First Woman on the Moon (1999-) is part of the group exhibition ONCE UPON A TIME: FANTASTIC NARRATIVES IN CONTEMPORARY VIDEO, at the Guggenheim, Berlin. The following article was originally published by Kelly Nosari on June 9,[…..]
On view from September 8 – October 22 at Gagosian Gallery (London), Mike Kelley continues his investigation on the inconsistencies in the story of Superman. Kelley began his quest in 1999 with the Kandors series, and the newest iteration, Exploded Fortress of Solitude, highlights the devastation and destruction of Superman’s home planet. The following article was originally posted on February 2, 2011 by Caitlin Moore. Mike Kelley[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley When sculptor Lynda Benglis published her scandal-worthy Artforum ad in 1974, the one where she held a double dildo up to her naked, oiled, and fit-as-a-biker-chick body, the din of criticism that followed came mainly from art world insiders. It was the insiders Benglis made the ad for, reacting against potently macho[…..]
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,[…..]
