Chinese Figurine Cup
Ken Price, Chinese Figurine Cup, 1969
Acrylic and graphite on lithograph proof, 22” x 18”
Posts tagged with art
Untitled (House, Fuchsia, Joshua Tree, CA)
Sam Falls, Untitled (House, Fuchsia, Joshua Tree, CA), 2012
Enamel on archival pigment print, 44 x 55 1/2 inches
5000 Feet is much less about answering to the medium, I think. It’s much more an examination of our role, not only as consumers, but as producers of content. In the case of the drone pilot, you’re talking about someone whose working life is very familiar to ours, at least technically speaking. I think most people who see 5000 Feet have a very strong sense of what that working life is like, because it really is, in a strange way, a mirror image of what we do, brave office workers that we are. We sit in a cubicle at work, at home, in the home office, all day, in front of these screens. Of course with him there is a giant underlying paradox, as he pointed out. His minute gestures—moving a mouse this way, moving the joystick the other way, hitting a few keys on a keyboard—have giant, giant effects in places halfway across the world. So, I suppose, the two pieces do bring together this notion of the artist in this romantic, nostalgic way—reacting to the medium—and then this figure of the drone sensor operator as another sort of person who works inside of the medium, who embodies the contradiction of what the technology does to you, what it does to the people he works with.
Untitled Mule
Paul Sietsema, Untitled Mule, 2010
Ink and enamel on paper in artist’s frame, 16 x 12 1/2 inches
Stomach Anatomy Apron
George Macunias, Stomach Anatomy Apron, 1967/1973
Silkscreened apron
(⇒ via the walker)
Make Ready
Nicholas Gottlund, Make Ready
April 18 – May 1, 2013 at Karma
For each book on display, there is a companion piece. The works in this exhibition both extrapolate upon the bound book as well as transform their materials by means of folding, cutting, exposing and overprinting – all methods that are routinely used in the production of the book. Through the manipulation of the method, the material, the tool and the reference, attention is brought back to the detail. It is not the detail–ing as in the addition of embellishment or of a final once over, but the inherent palpable quality of process made evident.
Video Art Catalog
Cover from the catalog to the 1975 Video Art show at the ICA. This show is the starting point for Primary Information’s tenure at the ICA as part of the Excursus series. Excursus brings artists and designers into the ICA archive for new programming and publications.
(⇒ via excursus/ica blog)
Untitled (Billboard Collage)
Stan VanDerBeek, Untitled (Billboard Collage), 1978-1983
Animation frame / Collage on paper, 12 3/8 x 13 3/8 in
Residue of the Performance
Anoka Faruqee, 2012P-46, 2012
Acrylic on linen on panel, 22½ × 20½ inches
Anoka Faruqee’s recent paintings of moire patterns are reminiscent of Bridget Riley and other 1960’s op artists, but her process, involving custom-made trowels that rake the paint like “sand in a Zen garden”, reference a physicality where others sought a flay perfection.
From an interview with Liena Vayzman in X-TRA:
Some clues about the process can be found in the finished works, but yes, I realize now that most viewers have no idea how these objects are made. At a certain point, I stopped taping the sides of the painting, in order to reveal the intense ooze of paint dripping from the gestural pulls, in contradiction to the glass smooth surfaces, as a way to let people into the messiness of the process. The peripheries are becoming more and more significant, because I want my paintings to be read, at least partially, as a residue of the performance of painting it.
Laguna
Giosetta Fioroni, Laguna, 1960
Oil and enamel on canvas, 39 3/8 x 31 1/2 in.
On exhibit now at The Drawing Center, as part of Fioroni’s first solo show in North America.
When I first started to work with cutouts, I naively thought of myself as an animator, but eventually it seemed an inaccurate term. I came to understand myself first and foremost as a collagist and an experimental filmmaker. The expectations of collage, which puts the focus on my source materials, provide better entry to my films than do the expectations of animation. Since I was a boy I’ve been sensitive to what was disappearing. Once an object or image is outmoded, it is dead. So I primarily work with dead images, which makes me a reanimator, not an animator.
—Lewis Klahr interviewed in Artforum
Discovering the Faculty of Enjoying throughout Eternity Continual Supreme Happiness
Justin Matherly, Discovering the Faculty of Enjoying throughout Eternity Continual Supreme Happiness, 2012
inkjet monoprint and spray paint, 37 x 35 3/4 inches
(⇒ via Martos Gallery)
We Buy White Albums
Rutherford Chang’s We Buy White Albums is an exhibition/record store comprised only of first pressings of The Beatles’ White Album.
From an interview with Chang:
I’ve come across some good eBay listings. For example: A2058935 was described as, “someone must have been smoking dope while drawing on the front cover both records have scratches but play ok.” Visitors to “We Buy White Albums” frequently offer their White Album stories as well. One told me that when he was a kid he would go over to his friend’s house to listen to the album. Except his friend’s copy had “Sexy Sadie” and “Happiness is a Warm Gun” scratched out because he was afraid that if his parents heard these songs they would confiscate the album.
The store is open in Soho, at 41 Grand Street until March 9th.
(⇒ via dust and grooves)
Newer » « Older