You walk in to a darkish room where ever-changing shapes move like a school of fish across the walls. After your eyes adjust, you find that the there are two benches sitting among six sculptures that are producing the schools of fish and that the fish are made out of nothing but light beams. These sculptures are metal. Simple geometry (sphere, cube, etc). The room[…..]
Today’s feature is brought to you by our friends at Flavorwire, where Marina Galperina discusses the 2011 Turner Prize recipient Martin Boyce. The prestigious Turner Prize has just been awarded to Martin Boyce at the BALTIC gallery in Gateshead, and this is the “a quietly atmospheric, lyrically autumnal installation” that won it. The 43-year-old can now proudly strut around as the hottest British artist under[…..]
The stairway to the fourth floor of the San Francisco Museum of Modern Art leads me directly toward a long, narrow, darkened space, at the end of which is the image of another, much longer, passageway. In that image, a concrete floor below and light fixtures above trace a trajectory toward infinity punctuated by pipes, wires, hoses, storage boxes, tools, and lockers. The scene is[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Understandably, I have always associated Constantin Brancusi with pure lines and modernism of an overly spiritual kind, the kind someone who wants to “fill the vault of the sky,” as Brancusi once said he did, would gravitate toward. However, I saw his drawings for the first time last week. Two hang in[…..]
Recently in the San Francisco Bay Area it has been impossible to walk down a street without running into (or trying to avoid) someone protesting something. The messages range from concise to ironic, sardonic to flat-out fed up. In the undulating sea of abridged manifestos, there is the rare message so poignant that it demands the sign-bearer’s cause receives deeper consideration. Geoff Oppenheimer’s current exhibit[…..]
Vincent Vulsma’s exhibition at the Stedelijk Museum Bureau Amsterdam explores the use of appropriation through the history of Dutch colonial expansion. He presents a contemporary artistic perspective on our relationship with colonialism beyond imperial history. Using and re-working a number of works originally seen in the ‘African Negro Art’ exhibition in New York’s MOMA in 1935, Vulsma displays the historic artifacts along with modern designs,[…..]
Anna Nazzari’s exhibition Horse Play at Turner Galleries presents the losing game, and the dogged impulse to try again, as an inescapable aspect of the human condition. With a nod to the absurdist existentialism of Albert Camus, Nazzari’s games, which are impossible to win, allude to the futile quest for meaning in an inherently meaningless world. For Nazzari, this nightmarish scenario provides the ground to[…..]
