On Sunday, February 15, the Broad opened its doors on Grand Avenue in downtown Los Angeles, proving the ease with which hype can be deflated like a big white balloon. The daylong preview offered VIPs—and, in the later afternoon, members of the public—a sneak peek of the still-raw interior of the three-story, 120,000 square-foot, $140 million building. The Broad will house and exhibit its 2,000-work[…..]
Typically, the studio is where artists make their work, but Joe Penrod’s space for creative development exists anywhere a shadow falls. Armed with only a roll of cerulean painter’s tape, Penrod transforms once-mundane shadows (and the objects that cast them) into fecund sculptural compositions. There are a few stages in Penrod’s process. First he finds an object that casts a particularly beautiful or striking shadow.[…..]
From our partners at Art Practical, today we bring you an essay by Emily K. Holmes, who analyzes the work of artist Zach Blas: “Blas creates space for facial-recognition technology to be not only strange, but dangerous and deserving of our critical questioning.” This article was originally published on April 16, 2014. Biometric technologies aim to “authenticate” and “verify” individuals by digitally scanning physical traits on[…..]
Senan Lee and Pansy Aung make up the duo Salt’n’Pepper Squid, and they specialize in making innovative and often humorous advertising campaigns that range from magazine spreads to promotional videos. Their recent evolution from individual creative producers to collaborators—in June of this year—has inspired new ways of thinking that reach beyond the campaigns the duo are accustomed to making. In September, they came up with[…..]
Something tells me the National Security Administration is monitoring Iñigo Manglano-Ovalle’s phone calls, and not just because the NSA monitors everyone’s phone calls. Since the early days of the War on Terror, the artist has built up an impressive arsenal of devastation. Starting in 2003 with Cloud Prototype 1 – a shiny amorphous blob reminiscent of a mushroom cloud, or a deformed variation of Warhol’s[…..]
Depending on who you ask, anywhere between eight thousand and thirteen thousand people attended the vernissage of the world’s newest art fair, Sydney Contemporary. By the end of three and a half days, the fair had attracted almost twenty-nine thousand visitors eager to see the offerings from eighty-three Australian and international galleries, presenting the work of more than three hundred artists. The physical scale was[…..]
PUTPUT is the Swiss and Danish artist duo of Stefan Friedli and Ulrik Martin Larsen. Though they primarily work in photography, their medium seems secondary—it’s merely the most effective form for documenting their work. The duo re-imagines objects and captures eccentric still-life setups, photographs, and object re-imaginings that open up an entire world of potential visual and sculptural combinations. The objects they create range from[…..]
