Posts Tagged ‘Text’

Jen Bervin and Dianna Frid

Dianna Frid. NYT. APRIL 24, 2014, RICHARD H. HOGGART, 2014; embroidery floss and graphite mounted on canvas, 15 × 20 inches. Photo: Tom Van Eynde.

From our friends at BOMB Magazine, today we bring you a conversation between artists Jen Bervin and Dianna Frid. They discuss color as a system of classification, Art Povera, and language. Diana Frid says “In classifying, I’m also alluding to the absurdity of classification, because no one is reducible to just one thing. All systems start out idiosyncratically.” This piece was originally published in BOMB 137,[…..]

Adam Pendleton: Becoming Imperceptible at Contemporary Arts Center New Orleans

Adam Pendleton. Installation Shot of System of Display, X (EXPRESS/Poro secret society mask, Mano, Liberia). 2016. Silkscreen ink on Plexiglas and mirror. Image courtesy of the artist and the Contemporary Art Center of New Orleans.

Curated by Dr. Andrea Andersson, Adam Pendleton: Becoming Imperceptible is the most extensive museum presentation of the artist’s work to date—a significant triumph for a cultural institution located in New Orleans, one of the most racially and politically fraught cities in the southern United States. While the exhibition’s rich display resonates with the variety of material and conceptual strategies at work in Pendleton’s oeuvre, it[…..]

Pope.L: Desert at Steve Turner and Pope.L: Forest at Susanne Vielmetter Los Angeles Projects

Pope.L. Forest, installation view, Susanne Vielmetter Los Angeles Projects, 2015. Courtesy of the artist. © Pope.L

Pope.L returns to Los Angeles, after his MOCA exhibition William Pope.L: Trinket this past summer, with a two-part, two-gallery, map-sprawling, time-spanning show—Desert at Steve Turner in Hollywood and Forest at Susanne Vielmetter Los Angeles Projects in Culver City—connected by a downloadable GPS driving tour. Samuel Beckett, whose influence appeared in Trinket, returns again in the GPS guide’s insistently jolted repetitive language, “this thing this thing this thing[…..]

Michael Waugh: Boom at Von Lintel Gallery

Michael Waugh. Derivative (FCIR, part 5), 2015 (detail); ink on mylar; 42 x 65 in. Courtesy of the Artist and Von Lintel Gallery.

Michael Waugh’s first solo exhibition in Los Angeles, Boom, is currently on view at Von Lintel Gallery. Using ink on Mylar, Waugh reimagines an assortment of 19th-century tableaux, depicting quaint scenes of countryside estates and horse stables, as well as turn-of-the-century buildings on New York City streets. These representational drawings consist wholly of handwritten text: Scribbled sentences produce the contour lines of buildings as they[…..]

Barbara Kruger: Early Works at Skarstedt Gallery

Barbara Kruger. Untitled (Don't buy us with apologies), 1986; photostat print in artist's frame; 48 3/4 x

54 7/8 in. (123.8 x 139.5 cm.) framed. Courtesy of the Artist and Skarstedt.

It’s a funny thing to be able to go back and reconsider an artist’s early works after thirty years, partly because the time capsule of memory remembers the work in the context in which it was made. Viewing the work again in the present reflects the context of that prior time as it’s understood now. The aggressively fast-paced 1980s are faster in memory than they[…..]

Glenn Ligon: Call and Response at Camden Art Centre

Glenn Ligon. Live (detail), 2014; video installation; size variable. Courtesy of the Artist and Camden Art Centre, London. Photo: Valerie Bennett

The designation Call and Response describes the antiphony effect, a device in speech in which a speaker elicits cadenced responses from the audience at systematic intervals. It’s a method that actively engages an audience, and although this universal device is as old as human speech in every corner of the world, in the American psyche it is particularly tied to black churches and the gospel[…..]

Remembering the Dead

Joseph Grigely. The Gregory Battcock Archive, 2009-2014; Installation view, Whitney Museum of American Art.
Courtesy of Air de Paris, Paris. Photo: Andrés Ramírez.

From our friends at Bad at Sports, today we bring you another assessment of the Whitney Biennial, which closes this coming Sunday. Author Jessica Cochran examines the archival nature of the current exhibition and notes, “…as the art world grows ever bigger in size and speed, one can only hope that the Whitney Biennial continues to make room for the discursive, textual, and ‘tossed-aside particulars.’” This[…..]