For the moment, the beating heart of Los Angeles’s Pacific Standard Time is Betye Saar’s installation Red Time, 2011, at Roberts and Tilton. Saar has transformed the middle room of the gallery into a shrine for past, present, and future, painting Roberts and Tilton’s interior room a bright red and allowing a variety of her customary assemblage works to act as friends and neighbors to[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley As a kid, I lived in a Seattle suburb for a year. We could see Mt. Baker out the living room window – the whole, majestic mountain was right there, nearly always in plain view. Before that, my family had lived in Chicago and Minneapolis, where there are hills and “bluffs” but[…..]
Anya Gallaccio’s current exhibition ‘highway’ at Annet Gelink Gallery in Amsterdam, is a graceful expression of a personal journey through the life and career of this leading British artist. Widely known for the ephemeral nature of her chosen materials, Gallaccio typically emphasizes notions of permanence, time, and decay. Yet, in her fourth show with Annet Gelink Gallery a preference for transient organic material has been[…..]
Colorado-based artist Mike Womack’s show Spectres, Phantoms, and Poltergeists opened at the Chelsea gallery ZieherSmith on September 15. DailyServing’s Carmen Winant had a chance to catch up with him this weekend to chat about his practice and the new work. Carmen Winant: What is your background in fine arts? Are you trained in sculpture and is that how you would define your practice? Mike Womack:[…..]
Across the San Francisco Bay, Oakland can often seem like entirely different world compared to “The City.” There is a general air of anything goes, as you wander down the streets filled with people from all walks of life. Punks, hipsters, young, cool professionals who used to be vegan anarchists before they had kids and got a real job, all contribute to the truly unique[…..]
A walk along Toronto’s west Queen West these days is a journey through a neighbourhood still in the throes of gentrification. With a thriving gallery scene now fully entrenched, the condos are going up, taking shape amidst the soaring cranes and massive construction pits. A little jaunt south of the main drag, a newly-renovated 99 Sudbury now holds a fitness club and event spaces, as[…..]
The Cantor Arts Center at Stanford University is engaged in a dangerous experiment, and it is not the levitation of a twenty-ton piece of Richard Serra’s steel sculpture, Sequence, 2006, thirty feet into the air. Nor is it the gyration of a 200-foot tall crane lifting the first of twelve panels—each almost thirteen-feet high and between thirty- and forty-feet long—from a flatbed trailer onto a[…..]
