Posts Tagged ‘Installation’

Fan Mail: Ben Bigelow

Ben Bigelow. Screen Shot 2014-02-23 at 5.12, 2014; Polaroid instant film; 4 x 4 inches. Courtesy of the artist.

Two sets of blinds layered over each other—one horizontal, one vertical, both a brilliant clean white—open and close slowly with nearly imperceptible movement. Like a dancer spinning in an endlessly repeating circle with no clear beginning or end, they move without purpose. When fully open, they form a matrix-like grid of perfect, uniform squares with an infinite series of colors glowing beneath, shifting, chemical, and[…..]

From the Archives – 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.

As the new year begins, it’s good to have a look back at what we’ve accomplished. Today we return to where we were exactly 365 days ago to rediscover the work of Rachel Debuque, who mixes a theatrical sensibility with a “discomforting internal logic” to create her installations. This article was originally published on January 3, 2014. Rachel Debuque works with myriad subjects and forms. In her[…..]

Howard Fried: The Decomposition of My Mother’s Wardrobe at The Box

Howard Fried. The Decomposition of My Mother's Wardrobe, 2014-2015. Courtesy of the Artist and The Box Gallery. Photo: Fredrik Nilsen Studio.

Carefully orchestrated yet unpredictable, the project has no predetermined solution, only possible actions.

Ai Weiwei: @ Large at Alcatraz

Ai Wei Wei. With Wind, 2014; installation detail, New Industries Building, Alcatraz. Courtesy of FOR-SITE Foundation. Photo: Jan Stürmann.

Today from our partners at Art Practical, we bring you Heidi Rabben’s assessment of @Large: Ai Weiwei on Alcatraz. Rabben writes, “…certainly, awareness and exposure counts for something, but whether or not these quantitative measurements will effectively impact or change any thinking about human rights is uncertain, and is therefore also a missed opportunity.” This article was originally published on November 24, 2014. This text is likely neither the first[…..]

Do Ho Suh: Rubbing/Loving at Lehmann Maupin

Do Ho Suh. Rubbing/Loving Project, 348 West 22nd Street, Apt. A, New York, NY 10011, 2013-14; installation view, Drawings, 2014. Courtesy of the artist and Lehmann Maupin, New York and Hong Kong. Photo: Elisabeth Bernstein.

Do Ho Suh’s Rubbing/Loving Project: 348 West 22nd Street, Apt. A, New York NY 10011, is a personal project of love and memory, but in the end it denies the viewer the access to the artist’s interiority that it seems to promise. Currently on display at the Chelsea outpost of Lehmann Maupin, the work records the artist’s former New York apartment through a series of painstakingly[…..]

Fan Mail: Lisa Wicka

Lisa Wicka. Construction of Self (detail), 2013; House paint, vintage wallpaper, laminate flooring, wood and chalk line; two interior spaces: 5 x 7 x 15 feet and 4 x 5 x 6 feet. Courtesy of the artist.

At the heart of Lisa Wicka’s artwork is a set of keenly nuanced spatial and visual adaptations. Her work transforms motifs, compositions, and ideas—human figures, abstract shapes, and reinterpretations of physical and perceived spaces—into unified bodies. Her small canvases, combine-like sculptures, and large-scale installations all mark their spaces of display with striking gravity. Most arresting is Wicka’s ability to create compositions that profoundly alter visual[…..]

Isabel Nolan: The Weakened Eye of Day at the Irish Museum of Modern Art

Isabel Nolan. The weakened eye of day, 2014; installation view, Irish Museum of Modern Art, Dublin. Courtesy of the CCA Wattis Institute. Photo: © Denis Mortell

Boldly and optimistically, a viewer might enter Isabel Nolan’s exhibition The Weakened Eye of Day with bright, wondering eyes. In Room 1, just on the right, is Dreams of No Thing, No Time (2014), a small green-and-orange watercolor painting of a subject that likely looks familiar: the sun on the horizon. Broad brushstrokes swept in half circles across the canvas render the composition abstract and[…..]