Today’s article is from our friends at Art Practical, where Michele Carlson discusses the spectator and visual language in Audience as Subject, Part I: Medium at Yerba Buena Center for the Arts. Audience as Subject, Part I: Medium, the first of a two-part exhibition at Yerba Buena Center for the Arts, brings together a group of artists whose work complicates and calls out the participatory[…..]
Installation view: HOUSE, 2010. Courtesy of Regen Projects, Los Angeles. It feels like a thousand years, though I know it’s only been about five minutes. Feet balancing atop five-inch heels on the loose gravel floor, my ankles quiver unsteadily as I clench every muscle in my legs to avoid toppling into Jeffrey Deitch’s back. This misstep would surely initiate a domino-like collapse of the well-coiffed[…..]
The calling card of artist Rodrigo Matheus is double-sided: a enchantment of the everyday on one side, the reverse, a wry disillusionment. My first encounter with the work of Matheus was not his own artwork, but a curatorial project for the gallery Mendes-Wood in São Paulo. He brought together pieces that engaged perception and representation; there were works that played with optics and material, works[…..]
Move: Choreographing You is an exhibition at Hayward Gallery, London from 13 October 2010 to 9 January 2011 which explores the interaction between contemporary art and dance. The experiments between visual artists such as Robert Morris and Robert Rauschenberg and dancers from Yvonne Rainer to Merce Cunningham in New York in the 1960s led to the insertion of bodily forms and movements into the visual[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Back when L.A. art was in its adolescence, critic Peter Plagens asked painter John Altoon why being an artist couldn’t just be about making work: I used to say, “John, what about the artist who just goes into his studio, paints paintings and tries to make them the best that he can?[…..]
The Foster Prize at the ICA Boston is one of the perennial Boston happenings where we take part in our favorite pastime: complaining. We complain about it from beginning to end investigating the minutia, gossiping about the motivations behind nominations, and frowning at the notion that any of the art could be worth our time. This worthwhile award has been slighted in recent years as[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Stop motion lends itself to stilted narratives about creativity. Some of the earliest films for which the frame-by-frame technique was used tell stories about eccentric characters making something almost as eccentric as themselves. In Thomas Edison’s 1902 project, Fun in a Bakery, a baker smothers a rat he sees with a glob[…..]
