Posts Tagged ‘Sculpture’

Doris Salcedo at the Museum of Contemporary Art Chicago

Doris Salcedo, Atrabiliarios (detail), 1992-2004. Installation view, Doris Salcedo, MCA Chicago. San Francisco Museum of Modern Art, Accessions Committee Fund purchase:gift of Carla Emil and Rich Silverstein, Patricia and Raoul Kennedy, Elaine McKeon, Lisa and John Miller, Chara Schreyer and Gordon Freund, and Robin Wright. Photo: Nathan Keay, © MCA Chicago.

The fourth floor of the Museum of Contemporary Art Chicago is typically an airy space with high ceilings and ample skylights, but currently it is crowded with an overabundance of furniture. Visitors are greeted with the pleasant mineral smell of dirt and a dense maze of wooden tables. The lighting is diffuse, almost grayed, and the galleries take on the look of a luminous dusk,[…..]

From the Archives – Fan Mail: Darren Jones

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In this week’s Fan Mail, we take another look at the work of Darren Jones, a multidisciplinary artist in New York City. Jones’ work takes shape across numerous forms and topics, but it is frequently critical in ways that the contemporary media is often unable to be. In assessments of the hyper-sexual and excessive culture of Fire Island Pines—a historic mecca for gay men—and the overt and aggressive presence[…..]

Amanda Turner Pohan: The Signals Are Caressing Us at A.I.R. Gallery

2.	Amanda Turner Pohan. The Signals Are Caressing Us, 2015; installation view, A.I.R. Gallery, Brooklyn. Courtesy of A.I.R. Gallery.

In the back room of A.I.R. Gallery in Brooklyn, a scent dispenser exhales once an hour. A meandering plastic tube connects the dispenser to a six-and-a-half-gallon jug on the floor near the center of the room. The jug contains the concentrated form of a custom-formulated perfume derived from sensors that measured the carbon dioxide exhaled by the artist Amanda Turner Pohan during thirteen unique orgasms.[…..]

Pierre Huyghe at LACMA

Pierre Huyghe. Untitled (Human Mask), 2014. Film. Courtesy of the artist; Hauser and Wirth, London; Marian Goodman Gallery, New York; Esther Schipper, Berlin; Anna Lena, Paris. © Pierre Huyghe

There is a scene in Pierre Huyghe’s shadowy, dreamlike film The Host and the Cloud (2010) in which a woman produces a black rabbit from an unmarked box. No magician, she handles the unexpected animal with a mixture of bewilderment and acute apprehension. Later in the film, she confronts the event during hypnotherapy; then, in a key conversion, she watches her own analysis session performed[…..]

Zhan Wang: Morph at Long March Space

Zhan Wang. Morph, 2014-15; installation view, Long March Space, Beijing. Courtesy of the Artist and Long March Space.

Quiet, cool, and dimly lit, Long March Gallery is an ethereal sanctuary for the five sculptures of Zhan Wang’s Morph. A tall, abstract sculptural form perches on a marble pedestal in the first gallery; next to it is a large, shiny work from Zhan’s ongoing Artificial Rock series. Together they create an intriguing juxtaposition. Immediately it seems odd to view such a work inside a[…..]

José Antonio Vega Macotela at Prospect.3

Jose Antonio Vega Macotela. Time Exchange 291 (From Time Divisa), 2009; intervened book; 8.27 x 6.3 x 4.72 in. Courtesy of the Artist and Prospect.3

“My eternity has died and I am waking it.” –Violence of the Hours, Cesar Vallejo It sounds like a riddle: No one can buy more of it, and few have enough of it; it wears on the rich and poor equally; loss of it produces deep fear. Time’s ability to be transferred and manipulated is at the heart of José Antonio Vega Macotela’s mixed-media series[…..]

Anselm Kiefer at Mass MoCA

Two of the beds in The Women of the Revolution showing could be mistaken from above for desert or mining landscapes, shifting in scale from intimate to massive. The Women of the Revolution (Les Femmes de la Révolution), 1992/2013 (detail); lead beds: dimensions variable; photograph on lead: 138 x 174 in. Courtesy of MASS MoCA, North Adams, MA, and Hall Art Foundation, New York. Photo: Saul Rosenfield.

Imagine a corrugated metal shed in which two facing walls tower twenty-five feet high and extend fifty-eight feet in length. Each interior wall is paneled with fifteen six-foot by nine-foot Anselm Kiefer paintings that rise three feet high. Layering seems an apt metaphor not only for this work, Velimir Chlebnikov (2004)—whose shed stands inside the gallery building, inside the museum, inside the grounds of a former[…..]