Posts Tagged ‘New York City’

From Minimalism into Algorithm at the Kitchen

From Minimalism into Algorithm, Phase 2; 2016; installation view, The Kitchen. Featuring works by John McCracken, Zoe Leonard, Andrea Crespo, and Cheyney Thompson. Courtesy of The Kitchen. Photo: Jason Mandella.

In a 1966 review, Rosalind Krauss described how one of Donald Judd’s “progression” wall reliefs pulled the rug from under her. Its intervallic sequence of supporting members suggested a Renaissance colonnade, but its variable spacing negated the compositional and spatial logic that this model prepared her to expect. “The work itself exploits and at the same time confounds previous knowledge to project its own meaning,”[…..]

Setting Out at Apexart

William Lamson. A Line Describing the Sun, 2010 (video still); 2-channel video; 13:35. Courtesy of the Artist and apexart, New York.

In Setting Out (an exhibition selected as part of apexart’s Unsolicited Proposal Program), the guest curators Shona Kitchen, Aly Ogasian, and Jennifer Dalton Vincent showcase works that reframe or enact the vocabularies, tools, and approaches of explorers and scientists. With many intriguing works on display, the most interesting render the Earth strange by observing it with fresh eyes, analogous to the wonder of seeing distant[…..]

Marina Rosenfeld and Ben Vida at Fridman Gallery

Marina Rosenfeld and Ben Vida. New Ear Festival, 2016 (performance still); sound performance. Courtesy of Fridman Gallery.

It is a strange thing to sit in a room for an hour and experience two people producing something unrecognizable. When successful, the relationship between the audience and the performers depends on generosity and trust. We, the audience, trust that we will be entertained, and so we open ourselves to the possibilities of the experience. In exchange for our receptivity, they, the performers, abandon certainty[…..]

Art Brut in America: The Incursion of Jean Dubuffet at the American Folk Art Museum

Augustin Lesage. Composition Symbolique, Amour pour l’Humanité (Symbolic Composition, Love for Humanity), 1932;
 
oil on canvas; 38-1/4 x 27-1/2 in.; Pas-de-Calais, France.
 Collection de l’Art Brut, Lausanne, Switzerland. Photo: Claude Bornand.

Art Brut in America: The Incursion of Jean Dubuffet, currently on view at the American Folk Art Museum in New York, focuses on two events seminal to the introduction of art brut to an American audience. The first was a 1951 speech given by the French artist Jean Dubuffet to the Arts Club of Chicago entitled “Anticultural Positions.” Displayed in full at the museum, the[…..]

Enrique Martínez Celaya – Empires: Land and Sea at Jack Shainman Gallery

1.	Enrique Martinez Celaya. The Bloom, for the Wilderness, 2015; oil and wax on canvas; 74-3/4 x 101-3/4 x 2-1/2 in (framed). Courtesy of the Artist and Jack Shainman Gallery.

“It’s not a key,” Enrique Martínez Celaya warns of the text Empires: The Writing, which accompanies his first solo exhibition at Jack Shainman, now on view at the gallery’s two venues in Chelsea under the titles Empires: Land and Empires: Sea.[1] I meet Celaya in early September, when we walk through the shows on the eve of the artist’s departure for his home in Los Angeles. Empires[…..]

Zoe Beloff: A World Redrawn at the James Gallery, CUNY

Zoe Beloff. Two Marxists in Hollywood, 2015 (film still). Courtesy of the James Gallery, Graduate Center, CUNY.

It is a strange fact that Theodor Adorno, Max Horkheimer, Arnold Schoenberg, Thomas Mann, and Bertolt Brecht all resided in Los Angeles, California, in the 1940s. Unsurprisingly, few of them found their wartime haven a particularly sympathetic milieu. Brecht’s stay was especially ill-fated, ending with his interrogation by the House Un-American Activities Committee (HUAC) and consequent return to Berlin. A decade earlier, the Latvia-born film director[…..]

Evan Calder Williams: T-1 at Artists Space

Evan Calder Williams. T-1, 2015; performed at Artist Space on July 21, 2015.

Ice, compromised vision, and colonial geography: These formed the conceptual scaffolding that supported Evan Calder Williams’ live essay, T-1, performed at Artists Space on July 21, 2015.[1] Despite the three subjects’ ostensibly divergent histories, Calder Williams wove them into a complex web that expanded into several narratives that highlighted epiphanic and unexpected connections. The dynamic multimedia event—comprising video, text, and images projected on perpendicular screens,[…..]