Posts Tagged ‘Sol LeWitt’

#Hashtags: Conceptualizing Difference

Charles Gaines: Gridwork 1974-1989. 
Installation view at the Hammer Museum, Los Angeles. February 8-May 24, 2015. Photography by Brian Forrest.

#institutions #race #conceptualism #access #appropriation A recent performance at Brown University by conceptual poet Kenneth Goldsmith has resurrected what had seemed to be a long-ago-settled debate. Goldsmith, whose poetic practice is based on appropriation, presented an adaptation of the autopsy report of Ferguson, Missouri, police shooting victim Michael Brown as a poetic reading during the Interrupt 3 arts festival in mid-March. The subsequent commentary has largely taken Goldsmith to task for what many perceive to have[…..]

Charles Gaines and Sol LeWitt at Paula Cooper NYC

Sol LeWitt. 12x12x1 TO 2x2x6, 1990; painted wood; 99x7x57 ½ in. Courtesy of Paula Cooper Gallery, New York. Photo: Steven Probert.

Two shows at Paula Cooper—Sol LeWitt: Wall Drawing 564 and Charles Gaines: Notes on Social Justice—knowingly nod at each other from their respective spaces across West Twenty-First Street. Wall Drawing 564: Complex forms with color ink washes superimposed (1988) holds court in Cooper’s large, dramatic exhibition hall surrounded by roughly contemporaneous structures and works on paper, and the immersive drawing exhibits LeWitt’s sustained interest in the grid[…..]

Postscript: An Ambitious Take on Conceptual Art and Writing at the Power Plant

Kenneth Goldsmith, Soliloquy, 1996.

Upon entering Toronto’s Power Plant Contemporary Art Gallery to see Postscript: Writing After Conceptual Art, the viewer is immediately confronted by a raucous wash of sonorous elements. Over fifty artists and conceptual writers occupy the gallery space; canonical works from Andy Warhol, Sol LeWitt, Marcel Broodthaers, Carl Andre, and Dan Graham are nestled among pieces by contemporary practitioners, contributing to the sense of saturation. Originally curated[…..]

On View This Summer at MoMA PS1

MoMA PS1 is an art institution reputable for its exhibitions and events that inspire an unparalleled contemporary dialogue in both the United States and internationally. It’s building – a recovered and repurposed public schoolhouse – alone commands a stamp of novelty. The exterior recalls an architectural era that predates the now ubiquitous rolling glass façades with its sumptuous terra cotta bricks and ornate eaves. It’s interior has[…..]

Need Not Be Made

In the beginning was the Word, and the Word was with God, and the Word was God. —John 1:1 I don’t recall when I realized just how weirdly powerful the first sentence of the Gospel according to John is, but I remember that it was a thrilling experience. That short phrase contained a startling revelation: God was language.  It seems unnecessary to unpack this phrase[…..]

Serial Killers

The serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloging the results of his premise. – Sol Lewitt Operating on logical relationships that rule out unpredictability, seriality, as Jean Baudrillard argued in decades past, is a phenomenon inextricably tied to industrial production and modernity. To those who live in the twenty-first century some half a[…..]

Young Eva’s “Ghastly Visages”

L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley There are many ways to mask yourself, some more effective than others, and artists—the good ones—venture further into the business of masking than most. They’re also deep into unmasking, balancing the urge to reveal with the need to conceal. This is a more pragmatic than emotional project; even if artists tend to[…..]