Installation

Roger Hiorns at Luhring Augustine

Roger Hiorns; Untitled (Security Object), 2013; cast stone; and Untitled (Surface 2), 2014; Steel, flat screen and youth; © Roger Hiorns; Courtesy of the artist and Luhring Augustine, New York.

Roger Hiorns’ current solo exhibition at Luhring Augustine—the British artist’s first in New York City—presents viewers with two inscrutable situations: In one, a quantity of gray powder has been deposited, apparently by hand, over a large, rectangular area occupying the better part of the main gallery; in another, a nude male model loiters about a massive, faceted stone object and a low table, the surface[.....]

Fan Mail: Joe Penrod

Joe Penrod. Deflated (after 3 weeks), 2010; mylar balloons, painter’s tape; 4 x 3 feet. Courtesy of Half/Dozen Gallery.

Typically, the studio is where artists make their work, but Joe Penrod’s space for creative development exists anywhere a shadow falls. Armed with only a roll of cerulean painter’s tape, Penrod transforms once-mundane shadows (and the objects that cast them) into fecund sculptural compositions. There are a few stages in Penrod’s process. First he finds an object that casts a particularly beautiful or striking shadow.[.....]

Getting Rid of Ourselves at OCAD University

Claire Fontaine. Untitled (Tennis ball sculpture), 2008. Mixed media. Images courtesy of Onsite [at] OCAD University and OCADU Visual Resources – Melissa Jean Clark

Getting Rid of Ourselves, a group show curated by London-based Helena Reckitt at OCAD University, features work by various individual artists and four artist collectives, most of them British. Many of the included works draw on Michel Foucault’s concepts of the subject to address the theme of how subjectivity is regulated and produced. Reckitt, who before moving to London was senior curator at Toronto’s Power[.....]

Matt Sheridan Smith: Widow – Fig. 3 Ep. 1 at Hannah Hoffman Gallery

Matt Sheridan Smith. Widow – Fig. 3 Ep. 1, installation view. Courtesy of the artist and Hannah Hoffman Gallery, Los Angeles. Photo: Joshua White

Matt Sheridan Smith’s current exhibition at Hannah Hoffman Gallery is a portrait show, but not in the conventional sense. Instead of painted likenesses of his subject (there is one representational image; more on that later), Sheridan Smith uses pattern, abstraction, and the readymade to create what he dubs “a sort of speculative portraiture.”[1] Evocative and confounding rather than illuminating, the works in the show obscure[.....]

The Part in the Story Where a Part Becomes a Part of Something Else at Witte de With

Ahmet Ögüt and Cevdet Erek. Ahmet Cevdet Bey: “Jacket”, 2011.

The Part in the Story Where a Part Becomes a Part of Something Else is an exhibition that covers a lot of ground. The Witte de With Center for Contemporary Art brings together over fifty artists with multifaceted disciplines, but despite the large scale, the show can be distilled to a few threads that highlight the potential for art to create constructed moments. This underlying[.....]

What I See When I Look at Sound at PICA

Gingold_opening.jpg

In What I See When I Look at Sound at Perth Institute of Contemporary Arts, curator Leigh Robb has presented five works by artists whose practices collectively traverse the visual, sonic, and performative. With a title that nods to books by writers Raymond Carver and Haruki Murakami, this exhibition aims to probe the relationship between the seen and heard, exploiting the synesthetic interplay between the senses. To[.....]

#Hashtags: Sweet and Low

Kara Walker. A Subtlety, 2014. Site-specific installation at Domino Sugar Factory, Brooklyn, NY. Commissioned by Creative Time. Photo by Rajath Vikram.

#race #gender #gentrification #access #development #labor Kara Walker’s massive sphinx at the Domino Sugar Factory in Brooklyn, titled At the behest of Creative Time Kara E. Walker has confected: A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of[.....]