In the 1988 action film, Die Hard, John McClane (played by Bruce Willis) hustles around a Los Angeles skyscraper—sweat-soaked and shirtless—in an effort to save his wife and other hostages from a ruthless terrorist group. At various points throughout the film, McClane (an NYPD officer) survives a partial jump from an exploding building and smashes through a plate glass window. Basically, he is injured to[…..]
I’m a sucker for a storyline involving a protagonist’s search for identity across generations and distant lands. More often than not this fascination is satisfied by reading a novel or watching a film, maybe listening to a three-verse country song. It’s not often that such a sprawling narrative emerges from within a work of art, but such is the case with the series of photographs[…..]
If the come hither of May’s New York Gallery Week annoyed the crap out of you, then maybe KRATOS — ABOUT (IL)LEGITIMATE(D) POWER at Team Gallery has just the gravitas you’ve been seeking. Monochrome in execution and serious in tone, this Debbie Downer of a show stands in stark contrast to the group hugs that typically fill galleries’ summer schedules. The show is dominated by[…..]
Nostalgia is a word that means “a wistful desire to return” or “a sentimental yearning,” but from these cloying definitions one would never guess that the word originally meant “homesickness”. At its heart, Haunted: Contemporary Photography/Video/Performance at the Guggenheim Museum in New York is nostalgic, but it is also complex and engaging without a hint of the saccharine. Nostalgia as homesickness is the distant light[…..]
Is it true belief’s unyielding determination that redeems and protects? This question lies at the heart of Brent Green‘s solo exhibition Gravity Was Everywhere Back Then at Andrew Edlin Gallery. The issue of belief occupies both Green and the man whose work provided the inspiration for the project. The story goes like this: a man named Leonard Wood once built a house entirely by hand[…..]
On view through May 1st at Khastoo Gallery in Los Angeles is the two person exhibition, Dark After After Dark. The show features the new work of French artist, Aurélien Froment, and English artist, Ryan Gander. Each is presenting a separate film or video projection, a meditation on a singular object in motion. Froment’s Pulmo Marina—a dayglow documentary of sorts about the Egg-yolk Jellyfish—reads like[…..]
Marc Horowitz, a self-described “maximalist,” has permeated American culture with his socially-oriented projects and playful enterprises. His work includes video, drawing, cultural experiments, and the dynamic use of networks like twitter and youtube. In 2004, while working as a photo assistant for Crate & Barrel, Horowitz wrote “Dinner w/ Marc 510-872-7326″ on a dry erase board that was included in their fall catalog. He received[…..]
