Conceptual

From Minimalism into Algorithm at the Kitchen

From Minimalism into Algorithm, Phase 2; 2016; installation view, The Kitchen. Featuring works by John McCracken, Zoe Leonard, Andrea Crespo, and Cheyney Thompson. Courtesy of The Kitchen. Photo: Jason Mandella.

In a 1966 review, Rosalind Krauss described how one of Donald Judd’s “progression” wall reliefs pulled the rug from under her. Its intervallic sequence of supporting members suggested a Renaissance colonnade, but its variable spacing negated the compositional and spatial logic that this model prepared her to expect. “The work itself exploits and at the same time confounds previous knowledge to project its own meaning,”[…..]

Mike Bray: Light Grammar/Grammar Light at Fourteen30 Contemporary

Mike Bray. ​The Necessity to Interfere with Movement​, 2016; light stands, ​acrylic, neon;​ 60​ x ​78​ x ​6​ inches. Courtesy of the Artist and Fourteen30 Contemporary.

The mechanics of grammar are the starter set of must-know rules for uniform speaking. They are the basic regulations without which language can be rendered clumsy beyond comprehension. Artist Mike Bray engages with these mechanics through his video, photographic, and sculptural works. At first concerned with the logistics of light and form on a fundamental level, Bray’s works expand to make visible their potential through[…..]

David Ireland at Walter and McBean Galleries

David Ireland. David Ireland, 2016; installation view, Walter and McBean Galleries, San Francisco Art Institute. Courtesy of San Francisco Art Institute. Photo: Gregory Goode.

Wry humor, mystery, and entropy: Today from our partners at Art Practical, we bring you Danica Willard Sachs’ review of David Ireland’s work at the Walter and McBean Galleries at the San Francisco Art Institute. The author notes, “Throughout, Ireland draws our attention repeatedly to the material conditions of each object, the where and how of every action, rooting them in real time and space.” This article was[…..]

Ludmiła Popiel at Fundacja Arton

Ludmiła Popiel and Jerzy Fedorowicz. IN, 1979; emulsion on canvas; dimensions unknown. Courtesy of the Museum in Koszalin and the archive of Ludmiła Popiel and Jerzy Fedorowicz.

Curators of contemporary Polish art have a somewhat paradoxical responsibility: to present the most up-to-the-moment work that is in the process of developing a history, while attempting to also excavate and frame the history of artworks produced during the last seventy years. As Poland expands its participation in the global contemporary art scene, it must also find a way to present the critical art-historical lineage[…..]

Michael Barron Interviews Camille Henrot

Camille Henrot. Bad Dad & Beyond, 2015; three dimensional resin print with video and telephone components; 44 x 20 x 9 inches. Courtesy of the Artist and Metro Pictures, New York.

From our friends at BOMB Magazine, today we bring you a conversation between Michael Barron and artist Camille Henrot. Discussing her recent solo show at Metro Pictures, Henrot says, “Bad Dad & Beyond is an investigation into a figure who uses his authority in violent ways. I was also interested in assembling the rules and values of various authority figures, not just for fathers.” This article was[…..]

Body Politic: Jill J. Tan interviews Eiko Otake

Photo: William Johnston. Courtesy of the Artist.

Eiko notes in the following interview, “I am using my body as a constant.”

Galeria Piwna 20/26 Emilia and Andrzej Dłużniewski 1980–1993 at Galeria Monopol

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Galeria Piwna 20/26 Emilia and Andrzej Dłużniewski 1980–1993 at Monopol provides a rare glimpse into the history of an influential apartment gallery that operated in Warsaw for thirteen years. From the imposition of Martial Law through the collapse of the Berlin Wall and beyond, the Dłużniewskis exhibited artworks by Polish and international post-conceptual artists. The retrospective exhibition at Monopol resonates with an uneasy timeliness: Given the prevailing political[…..]