Louise Bourgeois’ life is not just any open book – it more resembles a multi-volume anthology with pages torn out, chapters re-written, and notes cryptically hidden in the margins. While Bourgeois spoke openly about many of the subjects which infiltrate in her work, including the difficult relationship she had with her adulterous father and her traumatising childhood, she did not share unconditionally, and as we[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley I had a lazy Monday afternoon two weeks ago. A friend defended her dissertation and then we all migrated from the Inland Empire to my place, where I tried to show video art to one friend while another, the dissertation defender, slept. The internet connection was slow, and so we never finished[…..]
In the Shadow of the Hand and Back to the Things Themselves are two exhibitions presented as part of the Glasgow International Festival of Visual Art that runs till 7 May 2012. The process of collaboration between two artists and an exploration of a subjective experience are central issues in both exhibitions. Magdalen Chua (MC) interviewed the artists behind the exhibitions to find out about[…..]
Running alongside Tenth Avenue for approximately twenty blocks in Chelsea, The High Line has become a household term amongst Manhattanites since 2009 when it first became accessible as a public park. Since then – and especially within the last year – The High Line has ignited widespread murmur relating to its breathtaking architecture, imaginative urban integration and more recently its emergence as the local gallery[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Unless you really take Lent seriously, and I don’t know many Protestants who do, Easter is a quick event. It’s especially so if you consider all it encompasses: betrayal on Thursday, death on Friday, mourning on Saturday, new life on Sunday. To condense all this into one weekend feels very Christian.[…..]
In The Savage Mind (1962), Claude Lévi-Strauss made a case for “the intrinsic value of a small-scale model” of art, legitimising the art of the miniature because it “compensates for the renunciation of sensible dimensions by the acquisition of intelligible dimensions”. The miniature or the microcosmic representation is, as Lévi-Strauss rationalised, a schematic reduction permitting immediate intelligibility, because it essentially constitutes a bona fide experience[…..]
The thing about traveling on an airplane is that we take for granted how phenomenally absurd it is. There we sit, unfazed, hurdling through space at 500 miles per hour, 30,000 feet above the ground in a metal tube, surrounded by complete strangers whom in all likelihood we will never see again. There is also the unspoken airplane etiquette that we all hope the stranger[…..]
