Posts Tagged ‘Installation’

Interview with Josh Short

Josh Short. Going to Church, 2014; installation view, The Warehouse, Salina Art Center. Courtesy of the artist. Photo: April Engstrom.

I’ve recently been introduced to the term prairie madness. It’s fictional—not founded in medicine—but it captured my imagination all the same. Artist Josh Short laughed as he explained it to me: The gist is that one can be driven to psychosis by the far-flung expansiveness of the Midwest. Characters in novels have been driven to tears by the isolation, the seemingly never-ending wind, and their[…..]

Walter Robinson: Sic Transit Gloria Mundi at Catharine Clark Gallery

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Maria Porges reviews Walter Robinson: Sic Transit Gloria Mundi at Catharine Clark Gallery in San Francisco. What are we to think about an Egyptian funerary boat powered by[…..]

David Altmejd: Juices at Andrea Rosen Gallery

David Altmejd. The Flux and the Puddle, 2014; Plexiglas, quartz, polystyrene, expandable foam, epoxy clay, epoxy gel, resin, synthetic hair, clothing, leather shoes, thread, mirror, plaster, acrylic paint, latex paint, metal wire, glass eyes, sequin, ceramic, synthetic flowers, synthetic branches, glue, gold, feathers, steel, coconuts, aqua resin, burlap, lighting system including fluorescent lights, Sharpie ink, wood; 129 x 252 x 281 inches. Courtesy of the artist and Andrea Rosen Gallery.

In the main space of Andrea Rosen Gallery, David Altmejd’s gridded plastic network The Flux and the Puddle forms a labyrinthine rectangle—a wrinkle in time. In an homage to science and metaphysics, behind a network of clear vitrines, a series of human-animal hybrids construct themselves out of resin, epoxy, and clay, morphing in and out of candied fruits as harbingers of a kind of alternate evolutionary[…..]

Fan Mail: Rachel Brumer

Rachel Brumer. Memory’s Main Gate XI, 2008; van dyke on hand dyed pima cotton, acrylic, wax; 22.5” x 29” inches. Image courtesy of Mark Frey.

Transitioning from one distinct medium to another is often a challenge—one that many artists attempt. However, not all accomplish it with the seeming ease of Rachel Brumer. Working in varying combinations of textile, installation, sculpture, photography, and collage, Brumer diligently investigates a number of subjects. Foremost in her work is an almost pathological focus on remembering and honoring people, places, and moments through what she[…..]

Fan Mail: Rachel Debuque

Rachel Debuque. Cacti-Smash (Performance and Installation), 2013; paint, wood moon cacti, gloves, plastic goggles, test tubes, knife, glass bowl, watch glasses plaster cast moon cacti, plaster cast cat sticks, cast plastic cat stick, aluminum, plastic roofing, extension cords, power strip, fake plants; 8’ x 10’ x 8’ feet. Courtesy of the artist.

Rachel Debuque works with myriad subjects and forms. In her work, installation, performance, video, and sculpture collide with themes of domesticity, the still life, and the eccentricities of both individual personalities and physical spaces. Through all of this, her oeuvre coheres around a central concern: the visual re-codification and conveyance of memory through spatial sensitivity. Debuque’s Cacti-Smash (2013) is an installation-based performance that features two[…..]

Fan Mail: Sarah O’Donnell

Sarah O’Donnell. A Visible Night, 2013; Interior image of site specific installation at abandoned Moran energy plant, Burlington, VT, colored silks, rotating LED light, light board; dimensions variable. Courtesy of the artist.

In Sarah O’Donnell’s work, cinema, the diorama, and immersive installation come together to give shape to her fascination with and investigation of human memory. O’Donnell is specifically interested in the places and characters through which memories are made. She often re-creates memories through her own ever-evolving methods of mise-en-scène and editing. In this way, her works all seem to reside somewhere between explaining and further[…..]

Installation Art Reverses Production and Consumption Process

Ni Haifeng. Para-production, 2008-2012; textile shreds, sewing machines; work in progress, variable size

As part of our ongoing partnership with Beautiful/Decay, today we bring you the installation work of artist Ni Haifeng. For the better part of the last decade, Ni has been working with concepts of manufacturing and production, illustrating, in the words of curator and scholar Pauline J. Yao, “the symbolic systems that govern the movement of certain goods across international borders.” This article was written[…..]