A few months after their much-discussed exhibition at the Museum of Modern Art, Gert and Uwe Tobias now make their New York commercial gallery solo debut. As odd as it might seem that these collaborating twins found their entry into the local art scene via one of its most prominent institutions, it fits with the overall mystique of their work.
In the forward to the new Mel Bochner book, Solar Systems and Restrooms: Writings and Interviews 1965-2007 (MIT Press), Yves-Alain Bois tells us that the job of a work of art, as Bochner conceives of it, is to question, abolish, or expand boundaries.
I came to see the show, but I missed the militia. They were here at the opening, dressed like revolutionary war soldiers, guarding the artwork. This seems only appropriate for a show titled White Like Me. White like the artist, David Ford. White like the men who founded this country and fought the revolutionary war.
Lactose Intolerance Acceptance Revolution! We Are The Seahorses front man Darren chanted while pumping a glittered fist towards the basement crowd at Courtlandt-land, part of Three Day Weekend, a festival of basement shows that took place across New Brunswick, NJ, April 25 -27.
On either side of the entrance to Bruce High Quality Foundations retrospective at Sarah Inglett Gallery, two C-prints appear in modest steel frames. At right hangs an image of the New Museums lauded façade, with its rainbow-loud HELL YES motto, here reduced to unassuming silver-grays; at left is Bruce High Quality Foundations response: a picture of a brick building across the street from the museum, festooned with the phrase HEAVEN FORBID and patrolled by a tall figure peering with binoculars directly at the viewer.
You dont so much look at a Milton Resnick painting as step into it, like an elevator shaft. Unmoored from the formal constraints of space and form, Resnicks picture plane vaporizes into an arena of agitated indeterminacya nebulous interlacing of strokes darting with the incessant motion of acute anxiety.
he Brooklyn Rail has broadened its map and its definition. Once designating solely the L and G trains it now runs west to burgeoning Chelsea, and includes the JMZ to Bushwick. Beyond the trains, it means also to rail against the foe, affords a balustrade on which to lean when staring into hell belowand stands as the one sure hold we seize in heavy weather.
Collage and assemblage are the rebellious twins of the modern revolution, challenging the primacy of painting, provoking elusive experimentation, open to all and revealing to few. Started a century ago as a proletarian cubist-dada technique, it is now used and abused across a broad spectrum, exploited in print media as advertising, illustration, political cartooning, and book covers, and succeeding in the multimedia world as digital collage.
The piece leading into Take Your Time, the first major U.S. retrospective of Olafur Eliassons work, consists of nothing more than some fluorescent lights hung in a hallway. They emit a sickly, single-frequency mustard-yellow that suppresses every other color in the spectrum.
Hes gone a bit more abstract this time, but Tomory Dodges six large-scale paintings at CRG will be immediately recognizable to those familiar with his work. There are no rock outcroppings, cacti, or icebergs, but his painterly trademarks are all over: gradated, sky-colored backgrounds traversed by rainbow thatches of striated oil paint.
Painting at its strongest melds the slowly unfolding process of seeing, both externally and internally, with the distinctive vision of its creator. Taking on a life of its own, painting stands outside of any temporal moment. Yet to depict any such moment paradoxically requires significantly more time for it to be visually parsed and understood.
The Snakes Ghost, the kind of kinetic sculpture for which Rebecca Horn has become known, sits on the floor in the front room at Sean Kelly. It consists of a pool of gray water in a circular steel pan and a finely fabricated apparatus with a spiraling copper rod.
Paul Chan has suggested that The 7 Lights signal a turn in his objectives as an artist. While his previous wide-screen video animations could be perceived as limited in their specificity of format, indifference to location and consistency of logistics and materials, The 7 Lights evince a heightened sensitivity to the surrounding space as they track the contradictory relations and fraught imperatives between religion, enlightened consumerism and American politics.
While we may speak about the common factor between these two exhibitions as being abstraction or, more precisely, abstract painting, there are some interesting differences between the two. The exhibition at Metaphor Contemporary art, titled Spectrum, consists of four artists, each dealing preeminently with color in relation to variations of shape and form.
Best known for his symbolic paintingsencrusted surfaces jam-packed with lattices, neural networks, cracked TV screens, helicopters, Ferris wheels, and octopi pushing against the paintings physical edgesSteve DiBenedetto first gained larger attention when his work was included in an eight-artist survey, Remote Viewing: Invented Worlds in Recent Painting and Drawing, at the Whitney Museum of American Art (2005).
In the past few years, we have gotten tantalizing indications of Nicolas Carones achievement as a draftsman, as a sculptor, and as a painter. But the full extent of what he has done remains hidden, like an iceberg. Whatever the backstory, the reason for this is simple. From 1954 until 1962, Carone, who was born in 1917, regularly exhibited his work in New York, first at the Stable Gallery and then at Staempfli.