Sculpture

“The Accursed Share” at Artspeak

Deborah Edmeades. Blinking and Other Involuntary Portals, 2016; rocks, wood, paint, false eyelashes, galvanized wire, polyester resin, electromagnetic circuits, solar panels, mount board, monitors, cameras, glass. Courtesy of Artspeak. Photo: Blaine Campbell

The first thing I encounter upon entering “The Accursed Share” at Artspeak is a scent. “A fancy grandma’s house,” my gallery companion assesses. The scent emits from Aleesa Cohene’s You, Dear (2014), in which a large bunch of faux grapes is placed on the floor. Upon closer inspection, the decorative fruit is something much more elegant—in fact, it’s opulent. Each grape is made from the[…..]

A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s at the Block Museum of Art

The Pablo Casals mask used by Charlotte Moorman in the performance of Jim McWilliams’s C. Moorman in Drag, 1973. Courtesy of Charlotte Moorman Archive, Northwestern University Library.

The Juilliard-trained musician and performance artist Charlotte Moorman, the so-called topless cellist, never shied away from the spotlight. In addition, as a monographic exhibition at Northwestern University’s Mary and Leigh Block Museum of Art demonstrates, Moorman’s work as a cunning and forceful impresario contributed significantly to the international visibility of New York’s burgeoning avant-garde music scene beginning in the ’60s. A Feast of Astonishments: Charlotte[…..]

Kasper Bosmans: Motif (Oil and Silver) at Marc Foxx

Kasper Bosmans. Columna Rostrata, 2016; 1914 print, wood plexiglass, chain; 48 x 5 x 2 in. Courtesy of the Artist and Marc Foxx Gallery.

Up-and-coming Belgian artist Kasper Bosmans continues his interest in symbology with Motif (Oil and Silver) at Marc Foxx. His paintings and sculptures investigate rostral columns, whales, Roman shipping vessels, coinage, and Coco Chanel, among other seemingly unconnected imagery. About a dozen works, tastefully arranged, point to linkages both literal and figurative. The first series of paintings, Coco, Chain (She Loves Pink, Juicy Details, Guava Jelly,[…..]

Fan Mail: Rachel Granofsky

Rachel Granofsky. Ghost Sex, 2014; pigment print; 42 x 56 in. Courtesy of the Artist.

Rachel Granofsky’s approach to photography is akin to puzzle making, a balancing act between meticulously connecting individual parts while holding an unwavering attention to the whole. She creates her photographs at her Bushwick studio, which is set up as a miniature stage for building life-size installations. Granofsky constructs, frames, and captures; this labor-intensive process is her way of subverting the immediacy of digital photography. In[…..]

Make Your Mother at G-CADD

Catalina Quyang. Bumpy Plank (Girl Against Whites), 2016 (detail); aqua resin, extruded polystyrene, steel, bondo, enamel paint, clear coat; 96 x 24 x 10 inches. Courtesy of The Granite City Art and Design District.

The Granite City Art and Design District (also known as G-CADD) is an art compound of galleries and outdoor exhibition spaces along one block of Granite City, Illinois, located across the river from downtown St. Louis. Their exhibition, Make Your Mother, is a multifaceted grouping of works that investigate mother/child relationships. Curated by JE Baker, the exhibition at the gallery named Insurance features the artists[…..]

Amir H. Fallah: All Experience Is an Arch at Hap Gallery

Students of metaphysics commonly debate about time and space as an arc—curving and perhaps boomeranging, to ends that are difficult to articulate. Los Angeles–based artist Amir H. Fallah, however, postulates the experience of time and space as something more solid and tangible, akin to a structure engineered for indiscriminate movement back and forth. All Experience Is an Arch at Hap Gallery is an experiential recounting[…..]

The 5th Of July at Atlanta Contemporary Art Center

Installation shot of ‘The 5th of July’ (Far Left: Katherine Bernhardt’s Cantaloupe, iPhones, Nikes and Capri Suns (2014), Acrylic and Spray Pain on Canvas, 96 x 120 inches). Image courtesy of The Atlanta Contemporary Art Center (Atlanta, GA).

The symbolic charge of “the day after” marks itself as an interval structured by ambiguity as opposed to closure—a time of wake-up calls, hangovers, regrets, and comedowns. In science fiction, the phrase often suggests the apocalyptic nightmares of a world threatened by total disaster, while in revolutionary politics it articulates the call to reality after the collective euphoria from battle has worn away. It is[…..]