As an exhibition of contemporary Puerto Rican artists, one might be tempted to hypothesize that Paraíso, on view this month at ltd los angeles, is meant to express a quintessentially Puerto Rican attitude, or perhaps act as homage to the land itself. What’s primarily on display, however, is a state of mind: one shared by quite a few 21st-century contemporary artists, regardless of nationality. In[…..]
An athletic international globe-trotter, Shaun Gladwell‘s first solo show in the US is Matrix 162 at the Wadsworth Atheneum. The exhibition is of five videos (2005 through 2010) and one still image from a video. It ends up reading as a sort of mini-retrospective. It brings together work from his early preoccupation with extreme sports and urban motion through his reflection on the Mad Max[…..]
In the self-explanatory show entitled Video, an Art, a History 1965 – 2010, the history and evolution of the video art genre are recounted through 50 video works and installations, drawn from the collections of both the Singapore Art Museum and Centre Pompidou. Having developed in tandem with the apparatus of television and the analogue and then digital video cameras, video art’s reconfiguration of the[…..]
Memory is deeply connected to the senses, far beyond the linear nature of storytelling. Words are often the farthest from the real “truth” of a scenario, leaving space for memory and imagination to take place. Sight and sound, smell and touch fill in the gaps that words cannot describe, and it is at this brink that Hajnal Németh’s installation CRASH – Passive Interview rests. Exhibited[…..]
What happens at the moment when energy becomes material, and how can we even dream of documenting it? The question has wide-ranging implications, from the memories stored in everyday objects to the effects of prayer. Ranu Mukherjee’s solo exhibition at Frey Norris Contemporary and Modern, Absorption Into the Nomadic and Luminous, takes up these issues. A former painter who now works mostly with photography and[…..]
Is this a throwdown? It’s tempting to think so, since the title, Greater LA, is obviously a riff on the seminal P.S.1 survey Greater New York, and is installed in the same type of beat-up SoHo loft where major New York art history went down in the 1960s and ‘70s. But don’t get too excited. Any sense of bi-coastal competition erodes quickly when you realize[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley “I believe we were born dead,” said motorcyclist-daredevil Evel Knievel, rambling to Sports Illustrated in 1968. He’d just cleared 16 cars in Gardena, CA, before crashing over the fountains at Cesare’s Palace, and was romanticizing about future stunts. “I have accepted the fact that dying is a part of living,” he continued.[…..]
