Doug Aitken, still from 100 Years gallery walk-through, 303 Gallery, NYC.
Via a great Chelsea photo-laden post on Words in Space:
Lesley Dill, Faith & the Devil, Installation View, 2011-2012, acrylic paint, oil pastel, silver leaf, gold leaf, mixed media on cotton panel. // Source: georgeadamsgallery.com
Closed Jun 2, 2012
Lesley Dill: Faith & The Devil
George Adams Gallery
525 West 26th Street, First Floor, New York, New York 10001
Kicking myself for missing this calligraphy-installation show! See smallish photos on the gallery’s exhibition page, and a stunning detail on Words in Space.
Selected views of the current text-based show. Photos by Courtney Johnson.
Works by Nathaniel Donnett, Tim Etchells (Shouting your demands from the rooftop should be considered a last resort), and yours truly.
Works by Samson Young, Burt Richie, Tim Etchells, Young, Jack Pierson, and Jeremy Burt.
In the project space: My installation, _Unlimited Promise_ (2009–2011, installation, foil-laminated paper, thread, light, shadow, dimensions variable).
There’s lots more work in the show. The exhibition continues through June 25, with readings on May 19 and June 2. Stop by.
I’m liking these big dumb paintings at Paul Kasmin Gallery a lot. Don’t fret, I think any artist whose names her show “Feel Good Paintings for Feel Bad Times” would have a sense of humor about it.
Color, typography, unrestrained exuberance. Totally my cup of tea.
Curator Chus Martinez might characterize it, like one of her other projects at her recent lecture at CCA, as “Idiocy. But intellectual idiocy.”
Artist's Reception for Palimpsests, Tarryn Teresa Gallery, LA
Just got back from Los Angeles, where I installed recent text-based works, including the kinetic light sculpture Binary Pair, in Palimpsests, a show featuring the work of three artists using text. Curated by Elizabeth Williams, Palimpsests runs at Tarryn Teresa Gallery through October 29.
The other artists in the show are Cara Barer and recent Mills MFA grad, Annie Vought. Houston-based Barer contributed dramatic photos of books, pages sculpturally splayed. Vought is exhibiting her meticulous papercuts of found letters. I think the show hangs together really well, and I’m very pleased to be part of a strong showing completely authored and presented by women (artists, curator, gallery owner and preparator too!). I’m also very appreciative of the opportunity to share my work, and especially my kinetic sculpture, with the Los Angeles art audience.
If you’re in LA in the next few weeks, try to check it out. The gallery is located in a rather industrial part of downtown, but I think you’ll find the space to be worth the visit. Don’t forget to nip in the project space/installation gallery, where you’ll find Binary Pair.
Tarryn Teresa Gallery is pleased to present Palimpsests, an exhibit from guest curator Elizabeth Williams featuring work by Cara Barer, Annie Vought and Christine Wong Yap. Whether done playfully or poignantly, the artists in Palimpsests pay tribute to the associations and meanings we bring to the written word. Collections of words can differ extraordinarily, as can the reader’s response to them. Letters, books, newspapers, magazines or small one-page notes all offer the ability to inspire feelings of attachment or even aversion. An audience’s perception is mainly influenced by the meaning of the words themselves, but the manner of delivery can create an air of legitimacy, sentimentality or stronger emotions. With these visual works, the artists address the continuum of the written word.
Palimpsests
September 26–October 29, 2009
Artist’s Reception: September 26, 6–8 pm
Tarryn Teresa Gallery
1820 Industrial St. #230
Los Angeles, CA
hours: Mon.–Fri., 11 am–5 pm, Sat. 11 am–4 pm
I’ve been underground (metaphorically and literally, sort of: my studio’s in a basement), preparing for Galleon Trade at Bay Area Now/YBCA. So I’m emerging to view other shows, just in time for the fall art season! (As Anu pointed out on her blog, Why do we all still live by the semester cycle?)
The exhibitions at the Wattis can be theatrical and unconventional, but I was pleasantly surprised with rewarding experiences at the new evolution of Passengers and the brand-new The Wizard of Oz exhibition.
Carsten Holler installation at the Wattis Institutes' The Wizard of Oz exhibition
Really, even if I weren’t a light bulb freak (I dreamed of blue LED displays and reflector bulbs this morning), who wouldn’t love Carsten Höller‘s Wonderful signage, with a timed light-show sequence? Cans in the shape of letters with crystal clear incandescents. It’s nostalgic for the 20th century, which is only eight years ago when you think about it…
Glenn Ligon's installation at the Wattis Institutes' The Wizard of Oz exhibition
I was delighted to stumble into this in a far room of the Wattis. I am a huge (yooouj!) Ligon fan, and came to appreciate his black-ed out neon work more after reading a great critical and phenomenological response to “Negro Sunshine,” (Richard Meyer’s “Light it Up, or How Glenn Ligon Got Over,” Artforum, May 2006). Blacked-out neon America: Brilliant! I like the outlined typewriter typeface, it’s somehow appropriately spook-y.
One of my favorite quotes is about oscillating between the container and the contained (from the Fluxus artist Daniel Spöerri), so of course I also was thrilled to come across this neon piece on Regen Project’s website too.
Claire Fontaine installation at the Wattis Institute's Passengers exhibition
Brick-books of theory. The Wattis, of course, is housed on the campus of my alma mater, so for purely personal reasons, critical theory book wraparounds on cinder blocks are a riot. Of course, with all good conceptual art, the more you know, the better it gets. Fontaine is not an individual, but a French collective, and the installation is a meditation on the Paris 1968 riots, where a brick was more than a building material, but a weapon, a symbol of revolutionary actions. While anarchist communities are still active today (you will know them by their bicycle bumper stickers), it’s nice to be reminded of the once-obvious connection between critical theory and direct action.
I must have been an optimist. Only an optimist would expect that I could maintain a super-high level of art production, and ignore the realities of work, money and logistics (the Good, the Bad, and the Ugly?).
I love being an Affiliate Artist at the Headlands, but with the winter chills and funding shortages, I’ve had to psych myself up for the one-hour drive to the cold, damp studio… Of course there’s nothing better than the feeling of putting in a long day at the studio. I just have to remind myself that, in the end there’s the work, but day to day, it’s all about working.
See also Martin Creed’s If You’re Lonely, Work No. 470, 2005.
R+D 