Conceptual

Sequence’s Travels Into Several Notions of the Museum

Richard Serra. Sequence, 2006; weatherproof steel; 153 x 488 x 782 3/17 in. overall and 2 in. thick; installation views at New York MoMA (top left) Photo: Lorenz Kienzle, collection of the artist, © 2007 Richard Serra / Artists Rights Society (ARS), New York, LACMA (top right) Courtesy of the Artist, the Cantor Arts Center (bottom left) Photo: Saul Rosenfield, © 2014–15, with permission of Cantor Arts Center at Stanford University, and SFMOMA’s 85-foot wide by 55-foot long Howard Street gallery (bottom right) Photo: Henrik Kem © 2015.

From our partners at Art Practical, today we bring you an excerpt from Rob Marks’ consideration of Richard Serra’s Sequence, recently moved from the Cantor Arts Center to SFMOMA. Marks notes, “Sequence is massive, particularly when seen from afar. But it becomes something completely different up close.[…] For Jonathan Swift, too, size stood as much for difference as it did for power. The Lilliputians start by seeing[…..]

On Kawara: Silence at the Guggenheim Museum

On Kawara. DEC. 29, 1977 (Thursday, New York), 1977, from Today series, 1966–2013; acrylic on canvas; 8 x 10 in; shown with artist-made cardboard storage box, 10-1/2 x 10-3/4 x 2 in. Photo courtesy of David Zwirner, New York/London and the Solomon R. Guggenheim Foundation.

The first retrospective since On Kawara’s death in July 2014, On Kawara—Silence at the Guggenheim Museum presents fifty years of the artist’s work. At the core of the exhibition are the daily practices that constituted Kawara’s life and art: the conceptual rituals that produced the Today, I Got Up, I Met, I Went, and I Am Still Alive series. Each series represents a different way[…..]

Anicka Yi: You Can Call Me F at The Kitchen

Anicka Yi. Installation view of You Can Call Me F at The Kithcen in New York City , 2015.

At the entrance to the black box of the Kitchen’s upstairs gallery, a long vitrine houses an illuminated culture of bacteria on agar jelly. The cracked slab teems with biological entities colored like bruises on sallow skin. Imprinted with capital letters, it reads: YOU CAN CALL ME F. Anicka Yi’s current solo show stages part breeding ground, part containment camp for “F”—the feminine, the woman[…..]

Taryn Simon: Birds of The West Indies at Almine Rech

Taryn Simon. Detail of United Kingdom, 2014; 26 black and white images, archival inkjet prints in boxed mat and aluminum frame, 40 x 95 in. Photo by the author.

James Bond: debonair hero of the British Secret Service, or Caribbean bird expert? The answer is both. Ian Fleming named his famous spy after an ornithologist who wrote the comprehensive Birds of the West Indies. At Almine Rech Gallery in Paris, artist Taryn Simon fuses the cosmos of 007 with the interests of the researcher to produce a field guide to the birds that appear[…..]

Some Parallels in Textiles and Composition

Vox amp. Photo: Rebecca Gates

As the discipline of sound art develops and becomes more common, artists, including those working in textiles, are exploring ways to relate to and collaborate with sound.

Ding Yi: Ivory Black at ShanghArt

Ding Yi. Appearance of Crosses-13, 2013; acrylic on canvas; 140 cm x 200 cm. Photo: Courtesy of the Artist and ShanghArt gallery Singapore.

“Grids punctured with crosses in varying patterns” is perhaps the best—and admittedly, the most simplistic—way of summing up Ding Yi’s oeuvre. Ivory Black at the ShanghArt gallery is his latest iteration of these basic, severely geometric forms, in varying shades of blue, black, and white hues, distinguished only by date and serial number. Like an astronomer’s chart of the night sky, Ding’s gridded, ordered forms[…..]

Feast: Radical Hospitality in Contemporary Art at the Weisman Art Museum

Red76. Occupy Yr. Home Dinner, 2012; performance and installation, Chicago.

The exhibition Feast: Radical Hospitality in Contemporary Art originated with the University of Chicago’s Smart Museum of Art in 2012. Since then, it has had stops at the Blaffer in Houston, SITE Santa Fe, the Gund Gallery at Kenyon College, and is now on view at the University of Minnesota’s Weisman Art Museum. Founded on the idea of examining artists’ invocations of food as a[…..]