Louise Bourgeois: The Spider, The Mistress, and The Tangerine, the final film in The Art Kaleidoscope Foundations trilogy of artist documentaries, opens with anxious shots of the wooden exterior of Bourgeois Precious Liquids (1992) and coaxes the viewer through the door of the work to examine the bare bed and sensual glass vessels of its interior. Bourgeois declares over an ominous soundtrack: You have to be very aggressive to be a sculptor, really.
The majority of works in Keiko Narahashis Picturehood embody the continuum between two and three dimensions. For Narahashi, picturehood seems to imply that a picture, or representation, is as present and material as any three dimensional object.
More often than not, the current art dialogue treats spirituality in an artwork as rare or extraneous. The acrylic paintings on Masonite boards and canvas by Aboriginal men from Papunya now on view at Grey Art Gallery take the spirituality of an energetic picture as a given. These works, in which the visual reenacts ritual ceremony, read as performances of memory.
When Kazimira Rachfal paints, she stands above a small canvas placed flat on a table, as if working into a plot of fertile ground. Her view is aerial yet intimate. By the time a painting reaches a gallery wall, it has evolved into a compact cosmos, where a gentle magic toys with gravity and orientation.
In conjunction with Louise Bourgeoiss Guggenheim retrospective, Anthology Film Archives recently screened Brigitte Cornands film trilogy on the artist.