Curator

Revolution in the Making: Abstract Sculpture by Women, 1947–2016, at Hauser Wirth & Schimmel

Magdalena Abakanowicz. Wheel with Rope, 1973; installation view, Revolution in the Making: Abstract Sculpture by Women, 1947-2016. Courtesy of the artist and Hauser Wirth & Schimmel, Los Angeles, CA.

With galleries in Zurich, London, Somerset, and New York, the Hauser & Wirth enterprise has inaugurated their newest outpost in Los Angeles, Hauser Wirth & Schimmel, with the exhibition Revolution in the Making: Abstract Sculpture by Women, 1947–2016. Curated by Jenni Sorkin and Paul Schimmel, the show sprints through seventy years of art history with nearly one hundred works by thirty-four women. Sorkin and Schimmel[…..]

The Lasting Concept at Portland Institute for Contemporary Art

Sara Greenberger Rafferty. Testing VIII, 2016 (detail); microphone stand and asparagus, dimensions variable. Courtesy of the artist and (gallery). Photo: Evan La Londe/WORKSIGHTED

The Lasting Concept at Portland Institute for Contemporary Art (PICA) is, by design, chronically unsure of its form. Initially conceptualized as a publication of the same name, the exhibition explores the nagging, process-driven revelation of being unable to excise a particular understanding from one’s thinking. With content that requires a method of digestion similar to reading, the exhibition’s connection to experimental publishing is evident. It’s[…..]

Del Kathryn Barton: The Highway Is a Disco at ARNDT Singapore

Del Kathryn Barton. The highway is a disco, 2015; Acrylic on French linen; 240 × 180 cm. Courtesy of the Artist and Arndt Singapore.

Framed against a starlit sky, two female figures with feathered hair and large, limpid eyes sit astride blue and purple kangaroos. Their lush, naked bodies are stark white against a vibrant canvas of marks, lines, and dots. They stare out of pictorial space into an unknown distance, with their detached gazes separated from the viewer’s own perusal of them. Disengaged from us, their distance forms[…..]

Tomás Saraceno: Arachnid Orchestra. Jam Sessions at NTU Centre for Contemporary Art Singapore

Tomás Saraceno, Omega Centauri 1 Nephila Kenianensis 4 Cyrtophora citricola, 2014; Spidersilk, carbon fibre, light, Tripod. Courtesy of the artist and Esther Schipper Gallery, Berlin.

The gallery hums with screechy sounds resembling acoustic feedback, punctuated by random bursts of bass and cartoonish sound effects. The soundscape is queasily amorphous and disorienting, built on dissonance and the chaotic rhythms resonating from a handful of arachnids that have woven fine, thick webs around delicate wire frames. Featuring a plethora of spiderweb sound installations, Tomás Saraceno’s latest show Arachnid Orchestra. Jam Sessions is[…..]

Book of Scores at Disjecta

(From left to right) Ellen Lesperance, Alison O'Daniel and Helga Fassonaki. Book of Scores, 2015; installation view, Disjecta, Portland, OR. Courtesy of Disjecta. Photo: Worksighted

Cinematic moments are often remembered because of the dramatic musical accompaniment. Alfred Hitchcock’s Psycho is forever memorable in part for its menacing theme composed by Bernard Herrmann. Likewise, Star Wars is instantly recognized due to John Williams’ heroic use of trumpets. Book of Scores, on view at Disjecta, is an exhibition that is equally as pointed in its intention. Occupying many forms of sculpture, sound,[…..]

Genius/21 Century/Seattle at the Frye Art Museum

Lead Pencil Studio (Annie Han and Daniel Mihalyo). Under the Surface, 2008; charcoal graphite and paint on paper; 71 x 58 in. Courtesy of the Artists.

For the last thirteen years, Seattle has cheekily retorted the MacArthur Foundation’s annual announcement of “Genius Grant” winners by presenting a roster of its own local “geniuses” through the Stranger Genius Award. The Stranger, which is the city’s weekly alternative news and entertainment paper, selects and awards five individuals each year, from the fields of art, performance, literature, film, and music, with $5,000 of unrestricted[…..]

The Great Debate About Art at Upfor

Ben Buswell. ABRACADABRA (Perish Like the Word), 2015; graphite and non-photo blue; 38 x 20 inches. Courtesy of the artist and Upfor. Photo: Mario Gallucci.

“Art” is a contentious word. Endless positing over any succinct, defining properties has spawned countless op-eds, theses, and textbooks. The topic is comparable to that of discussing religion in mixed company—differences of opinion have more than once drawn blood. The Great Debate About Art, currently on view at Upfor in Portland, Oregon, is a small group exhibition contextually centered on Roy Harris’ 2010 book of[…..]