Sculpture

From the Archives – The Culture of the Copy

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Today from the archives, we bring you an early #Hashtags column on images, photography, and the movement from two dimensions to three. Though this post was originally published on January 24, 2012, the distinction between “real” and “unreal” continue to be germane to both contemporary art and everyday culture. “Cameras are the antidote and the disease, a means of appropriating reality and of making it[.....]

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[.....]

COMMUNE at White Rabbit Gallery of Contemporary Chinese Art

Xia XIng, '2010', 2010 - 2011, oil on canvas, 35 x 50cm (x60) image courtesy White Rabbit Gallery

The word commune, whether used as a noun or a verb, has complex connotations. From earnest Utopianism to grim, state-enforced collectivism; from familial relationships and networks to our connection with the natural world—all of these possible associations are present in the new show at Sydney’s White Rabbit Gallery of Contemporary Chinese Art. From Judith Neilson’s impressive collection, curator Bonnie Hudson has selected works by twenty-three artists.[.....]

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.[.....]

Neal Rock: Herm 0714 at Loudhailer Gallery

Neal Rock. Schwarze Prosopon, 2014; Silicone paint, styrofoam & MDF, 25 x 13 x 8 in. Photo courtesy Loudhailer Gallery and the artist.

The latest exhibition of work by Los Angeles-based artist Neal Rock, currently on view at Culver City’s Loudhailer Gallery, asks viewers to consider artistic materials in a fresh and interesting way, but falls somewhat short conceptually. Rock’s abstract, sculptural works combine found components, such as insulation material, with layered experiments in oil paint, silicone, and printing. These idiosyncratic objects are tantalizingly ambiguous in tone but[.....]

Summer Reading: Phyllida Barlow & Vincent Fecteau

Vincent Fecteau. Untitled, 2008; Papier-mâché, acrylic paint; 25 3/4 x 32 1/2 x 12 1/2 inches. Copyright Vincent Fecteau. Image courtesy of the artist and Matthew Marks Gallery.

As the editors at Art Practical and Daily Serving get ready to take their end-of-summer vacations, we find ourselves swapping reading lists—the articles we’ll dive into once have some uninterrupted time to catch up on what our colleagues have been writing. We’ve gotten so excited about what’s on our lists that we want to share them with our readers. Between now and Labor Day, Daily Serving will feature the efforts of our[.....]

Recurrence at Fridman Gallery

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Recurrence, a five-artist exhibition curated by Luisa Aguilar Solis and Georgia Horn now at Fridman Gallery, takes its name from Italo Calvino’s 1968 novel, Daughters of the Moon. Calvino imagines a world in which capitalist society’s obsession with consumption and novelty, and the cycle of obsolescence that inevitably follows, reaches a fever pitch: People decide that the moon, cratered as it is, is past its[.....]