L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley In 1975, when Bob Dylan was on his Rolling Thunder Revue tour, traveling the country with an entourage of creatives—among them Joni Mitchell, Allen Ginsberg, Ramblin’ Jack Elliott, and Joan Baez—he played Madison Square Gardens. As had become his habit, he wore black-eyeliner over whiteface makeup and a feathered, flat-brimmed hat on[…..]
Digital Nights, an adaptation of Nuit Blanche that prioritizes the technological in the multidisciplinary vision of contemporary art, is a 10-day showcase of a varied lot of visualization projects by European artists Miguel Chevalier, Bertrand Planes and Art collectives Visual System and Lab[au], currently on view at the Singapore Art Museum, one of the few venues anchoring this joint project. It has been several decades[…..]
Taking up both Gavin Brown’s Enterprise and Maccarone, much of Pattern and Degradation is based on the Amish tradition of Rumspringa, the time when Amish teenagers get to go nuts for a year before deciding whether or not to commit to the whole Amish thing. Admittedly, the Amish are an easy target—they’ll never get through the Holland Tunnel in a horse and buggy to see[…..]
This weekend, the largest festival of art, technology and digital culture in the United States opens in San Jose, California. The 2010 01SJ Biennial, Build Your Own World, is a multi-disciplinary, multi-venue event that features dozens of projects by artists, designers, engineers, architects, marketers, corporations and citizens during a four day, city wide event. The biennial, which is open from September 16-19, includes exhibitions, performances,[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Leslie Hewitt’s Grounded is a staircase that goes nowhere. I saw it at the California African American Museum last winter in After 1968: Contemporary Artists and the Civil Rights Legacy, a show about the ripples of the year a jailed Huey P. Newton said “we’re hoping the master dies” and Joan Didion[…..]
In 1980, French theorist and critic Roland Barthes published the book Camera Lucida, addressing the nature of photography and its inherent relationship with the mechanics of time. Barthes deconstructs this correlation and the concept of memento mori, roughly translated to mean “remember your mortality,” and how photography exposes the vulnerable temporality of life. Will Rogan’s exhibition, Stay Home, now at the Altman Siegel Gallery in[…..]
The transformation of the ready-made everyday object in art has been commonplace since the early twentieth century. As trends in art making exponentially evolve, the concept of transforming the everyday object or the everyday experience has only become more relevant in art making. For Michael Zelehoski‘s solo exhibition, Objecthood, currently on view at Christina Ray Gallery in New York City, the artist takes this almost[…..]
