There is a scene in Pierre Huyghe’s shadowy, dreamlike film The Host and the Cloud (2010) in which a woman produces a black rabbit from an unmarked box. No magician, she handles the unexpected animal with a mixture of bewilderment and acute apprehension. Later in the film, she confronts the event during hypnotherapy; then, in a key conversion, she watches her own analysis session performed[…..]
Quiet, cool, and dimly lit, Long March Gallery is an ethereal sanctuary for the five sculptures of Zhan Wang’s Morph. A tall, abstract sculptural form perches on a marble pedestal in the first gallery; next to it is a large, shiny work from Zhan’s ongoing Artificial Rock series. Together they create an intriguing juxtaposition. Immediately it seems odd to view such a work inside a[…..]
“My eternity has died and I am waking it.” –Violence of the Hours, Cesar Vallejo It sounds like a riddle: No one can buy more of it, and few have enough of it; it wears on the rich and poor equally; loss of it produces deep fear. Time’s ability to be transferred and manipulated is at the heart of José Antonio Vega Macotela’s mixed-media series[…..]
Imagine a corrugated metal shed in which two facing walls tower twenty-five feet high and extend fifty-eight feet in length. Each interior wall is paneled with fifteen six-foot by nine-foot Anselm Kiefer paintings that rise three feet high. Layering seems an apt metaphor not only for this work, Velimir Chlebnikov (2004)—whose shed stands inside the gallery building, inside the museum, inside the grounds of a former[…..]
Richard Stone creates paintings, sculptures, and installations that form constellations of meaning. While the works are all distinct—for example, a series of bronze figurines half-covered in smooth, bulbous wax, or a carved white marble flag that ripples in an unseen wind—when exhibited together, they form a cohesive yet mysterious network. Stone is chiefly concerned with art and cultural history. He explores the past through the[…..]
Typically, the studio is where artists make their work, but Joe Penrod’s space for creative development exists anywhere a shadow falls. Armed with only a roll of cerulean painter’s tape, Penrod transforms once-mundane shadows (and the objects that cast them) into fecund sculptural compositions. There are a few stages in Penrod’s process. First he finds an object that casts a particularly beautiful or striking shadow.[…..]
The latest exhibition of work by Los Angeles-based artist Neal Rock, currently on view at Culver City’s Loudhailer Gallery, asks viewers to consider artistic materials in a fresh and interesting way, but falls somewhat short conceptually. Rock’s abstract, sculptural works combine found components, such as insulation material, with layered experiments in oil paint, silicone, and printing. These idiosyncratic objects are tantalizingly ambiguous in tone but[…..]
