L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Last night, at a bar beneath a Motel 8 on Sunset and Western, a friend and I got sucked into a great, mammoth of a Jukebox that’s quirky selection reminded us of a history short enough that our lives had overlapped with much of it, but long enough that many of the[…..]
A cursory look suggests that variations on the themes of individuality (as opposed to the collective social unit) and transcultural displacement dominate Do-Ho Suh’s oeuvre. Fabricated in nylon, Staircase (2003) is a gauzy blanket of red that hangs suspended from a ceiling spanning 2 floors, an ethereal, translucent replica of his living space in Chelsea, New York in which viewers can peer – rather obliquely –[…..]
This Sunday, From the DS Archives examines the oeuvre and influence of Cuban-born, American artist Felix Gonzalez-Torres. Gonzalez-Torres is presently the subject of a traveling retrospective, Felix Gonzalez-Torres: Specific Objects without Specific Form, which is at its final destination, MMK Museum für Moderne Kunst Frankfurt, until April 25th. In the spirit of Gonzalez-Torres’ practice, the exhibition has a particularly experimental structure. While the show is installed initially[…..]
This Sunday, From the DS Archives takes a second look at New York-based artist Glenn Ligon. Ligon is currently the subject of a mid-career retrospective at the Whitney Museum of American Art, an exhibition that will travel on to the Los Angeles County Museum of Art in fall 2011 and the Modern Art Museum of Fort Worth in early 2012. Ligon’s most iconic works, namely[…..]
One offshoot of photography is the debate over the authority we give it, a fact that San Francisco artist Sean McFarland plays with in Viewshed, a solo show up this month at Baer Ridgway Exhibitions. Viewshed contains two separate but related bodies of work: Dark Pictures, a series of large, extremely dark but detailed photographs taken of what look like wild and wooded landscapes; and[…..]
Chicago-based artist Ryan Travis Christian creates amazingly rendered drawings that employ an amalgamation of sources, all collapsing and folding in on one another. Ryan freely adopts cultural signifiers, both high and low, and fractures them to the point where anything can exist on the same page, regardless of its origin. The artist currently has an exhibition on view, titled Sad Sacks, at San Francisco’s Guerrero[…..]
The Singapore Biennale 2011: Open House threw open its doors to the public on 13 March 2011 with 63 artists from 30 countries presenting 161 works across four exhibition venues. Predicated on the belief that contemporary artistic practices are largely driven by discursive acts of exchange and transactions, Open House records the ensuing visual dialogue and contested ways of seeing that emerge when communication channels are[…..]
