Saturday, December 22, 2012

Art in America print/Guido van der Werve review

Over the past decade, Dutch artist Guido van der Werve has created a series of 35mm films and videos that pair classical musical arrangements-often by Chopin or Mozart, and, lately, by the artist himself—with feats of endurance. Recently, Luhring Augustine assembled a two-part survey of the 34-year-old artist's career, with works from 2003 to the present spread out over the gallery's two locations, in Chelsea and Bushwick.

Click to read on Art in America

Friday, November 16, 2012

Art in America online/Martin Beck

Long Way Home: Martin Beck at 47 Canal

With "Presentation," New York-based Austrian artist Martin Beck's first show at 47 Canal [through Nov. 18], the artist re-imagines the mid-century commune. "All these archival commune images are of barely clothed younger people in nature—I mean, what's not to like?" laughed Beck. "But for this project, I wanted to leave the images out of it, and construct an image that doesn't use that archival material." The artist uses the Drop City commune, which formed in Colorado in 1965 and dissolved in the early ‘70s, to consider the structural arrangements of planned communities.
VIEW SLIDESHOW   Directions, 2010 vinyl text dimensions variable edition of 3 ;   We dismantle abandoned bridges..., 2012 chromogenic color print 26.67 x 40 in/ 67.7 x 101.6 cm edition of 4 ;

Tuesday, October 2, 2012

Art in America/John Armleder

Fine Furniture: John Armleder at Swiss Institute

A retrospective of Swiss artist John Armleder's sculptural interpretations of domesticity, "Selected Furniture Sculptures 1979-2012," is on view until Oct. 28 at New York's Swiss Institute. The show catalogues the artist's well-known series of sculptures, which combine painting and found furniture. His formally inventive pairings conjure the interiors of both the household and mind; the specificity of the objects might lead to conjecture, or at least curiosity, about the artist himself. "The least interesting thing about art is the artist," Armleder told A.i.A., reflecting the profound yet offhand modesty of his sculptures.

Thursday, September 27, 2012

Art in America online/James Welling

Welling on Wyeth

James Welling is well-known for creating photographic abstractions that blend arcane techniques with extreme innovation. Now the artist is pushing the boundaries of his photographic compositions toward the idea of painting, with the help of the late American painter Andrew Wyeth. His latest body of photographs, "Overflow," at David Zwirner through Oct. 27, includes documentation, image-manipulation and digital abstraction. The photographs show straightforward images of Wyeth's studio, figurative renderings meant to conjure the feeling of an environment, and water-and-graphite abstractions that evoke painting at its most primeval.
VIEW SLIDESHOW James Welling_ G19V1, 2012. Archival inkjet print. 51 7/8 x 40 inches, 131.8 x 101.6 cm.; James Welling, FD1M, 2012. Archival inkjet print. 48 x 40 inches, 121.9 x 101.6 cm.;

Tuesday, September 11, 2012

Art in America online/Justin Lowe & Jonah Freeman

Get a Room: Justin Lowe and Jonah Freeman at Marlborough Chelsea

In the three years since Justin Lowe and Jonah Freeman have shown in New York, a lot has changed-not the least of which being the shuttering, by New York City officials, of all government-run Off Track Betting (OTB) parlors in 2010. The artists, whose 2009 show at Deitch Projects, "Black Acid Co-Op," featured an exploded crystal meth lab, have tapped OTBs—state-run facilities that allowed glassy-eyed gamblers to bet on horse races in the middle of New York City—for a comeback of sorts. The gambling parlors play a starring role in the artist's latest multi-roomed installation, titled "Stray Light Grey," which opens Sept. 16 at Marlborough Chelsea.

Thursday, August 2, 2012

Art in America online/Mark Flood

More Than Lace: Mark Flood at Luxembourg & Dayan

Texas artist Mark Flood may be best known for his lace paintings from the early 2000s, the large, multi-hued acrylic pieces that use torn fabric to illusionistic ends. But his expansive retrospective, "The Hateful Years," at Luxembourg and Dayan through Sept. 19, presents those delicately rendered lace works as a fairly profound deviation.

The show includes some 120 pieces of collage, sculpture, music and ephemera, displayed in reverse chronological order (the newest works are the first one encounters, on the first floor). "I didn't want to be ‘the lace painter'," said Flood, 56, who spoke to A.i.A. on the day of the exhibition's opening. "It was an emotional struggle for me to accept that. Lace has a lot of connotations that I was never interested and that I'm still not interested in."
Roger, 1983; Exxon Man, 1979;

Monday, July 9, 2012

Art in America online/Matthew Higgs

Matthew Higgs's Economics of Art

Currently on view at James Cohan gallery, "Everyday Abstract-Abstract Everyday" features 37 works that New York-based curator Matthew Higgs chose with an agenda based, in part, on changes brought about by the economic downturn. "I'd been noticing that the high production values very much associated with the boom in the art world in the mid-2000s were in decline," says Higgs. "An awful lot of artists are now working with much more modest materials-perhaps due to the economy."

Thursday, June 28, 2012

Art in America online/Paola Pivi

Paola Pivi's Wild Ride

Italian-born, Alaska-based artist Paola Pivi's large-scale sculptures, complex kinetic miracles of engineering, often have a simple conceit and witty titles, which Pivi farms out to a reliable source.

"My titles don't originate from me. They come from my husband, Karma Lama, a Tibetan composer and poet," Pivi told A.i.A. "Sometimes I describe the piece. Sometimes I show him a picture, and he comes up with a title, or a few options." Pivi premiered her first U.S.  public work, How I Roll, at the Doris C. Freedman Plaza in Central Park on June 20.
VIEW SLIDESHOW Paola Pivi, How I Roll, 2012. Photo: Attilio Maranzano, Courtesy Public Art Fund  ; Paola Pivi, How I Roll, 2012. Photo: Attilio Maranzano, Courtesy Public Art Fund  ;

Wednesday, June 27, 2012

Art in America online/Kristina Buch

Kristina Buch's Constant Garden

As part of The Lover (2012), her contribution to dOCUMENTA13, German artist Kristina Buch will remain in Kassel for the duration of the show, caring for her installation. Essentially a low hanging garden, the piece consists of a total of 3,000 plants (180 separate species) and 3,000 butterflies (40 separate species), which are hatched and brought to the site daily by Buch herself. The piece is quietly durational, and built into its conceptual agenda is the necessity for nature to remain uncontrolled. The plants, which nourish and shelter the butterflies, will grow throughout the summer, and Buch's butterfly emigrants often get carried away in the wind.

Tuesday, May 29, 2012

Art in America online/Urs on Film

Urs on Film

Swiss director Iwan Schumacher's new documentary, Urs Fischer, studies the intensely creative years that culminated in the New York-based artist's first U.S. solo museum show, "Marguerite de Ponty," at the New Museum in 2010. The film, which premieres tonight at the New Museum, opens with a close-up of a dashboard statuette of Elvis Presley. The potential comparison between the performer and Fischer isn't accidental: Schumacher is interested in Fischer as an artist, and as a natural-born performer who instantly captures the camera's affection.

The director combines the creation and installation of the New Museum show with documentation of shows in Australia and Rotterdam, and quotidian scenes from the artist's Brooklyn studio.

Throughout Fischer evokes a modern day Orson Welles, his comportment and charisma mirroring his larger-than-life sculptures. "Everything about him is so very physical—the way he walks, his gestures," Schumacher told A.i.A. "You can see that physicality in the work. That's what drew me to him. He's like an actor from a '40s French movie."

Fischer's day-to-day dramas occur primarily around the kitchen in his studio, where he conducts meetings with curators and chats with friends and assistants. The close, intimate feel of these domestic scenes came about because the director often worked alone, without an obtrusive crew. "At the beginning, the film wasn't financed, so I did a lot of the shooting myself," he says.

Friday, May 18, 2012

Art in America online/Kon Trubkovich

Kon Trubkovich's Static Pictures

Erich Fromm's 1956 book The Art of Loving—a treatise on developing one's natural abilities toward authentic affection—includes a chapter titled "Love and Its Disintegration in Western Society." The chapter argues that in Western culture capitalism has leeched meaning from relationships, causing contemporary society to view romantic partnerships as emblems of status. Kon Trubokovich's new show, "Leap Second," at OHWOW gallery in Los Angeles takes as its inspiration not just Fromm's amorous call to arms, which advocates for the creation of authentic love divorced from money and ambition, but also the physical act and mental conception of disintegration.

Consisting of nine paintings, an audio installation and eight works on paper, the exhibition begins with Put my guns in the ground (all works, 2012), an oil-on-linen portrait that translates a video still of Trubkovich's mom's face, captured at a party. The portrait is accented with low-resolution video scan lines; the image is sliced through horizontally with seams of static, recalling a television screen displaying a paused video. The piece is followed by subsequent paintings of the same video still, each possessing less and less of the figurative elements of the first. "Each portrait becomes more distorted and more abstracted, one after the other," Trubkovich told A.i.A., in his Brooklyn Navy Yard studio.
VIEW SLIDESHOW KT4-20 1059 Put my guns in the ground 2012 oil on linen 72X56    ; KT4-20 1066 If you can take the hot lead enema, then you can cast the first stone. 2012 oil on linen 47X54    ;

Friday, May 11, 2012

Art in America online/Rita Ackermann

Rita Ackermann Has a Fire in Her

"If my work can relate more to poetry, then I am getting closer," says Rita Ackermann, discussing "Fire by Days," her most recent series of paintings and works on paper. The loose, understated abstractions are often rendered exclusively in indigo and red oil and enamel—newer works also include a nude tone—and touched by bursts of spray paint. The title of the series derives from "Vacancy in Glass" by poet Roger Gilbert-Lecomte, whom Ackermann discovered through the writings of Antonin Artaud. The poem's final lines, "In a swift white line/On a black space/A brushstroke/Signifying absence," imply the flight of a bird as a symbol of loss, and reflect the artist's new impetus toward unbound, gesture-based abstraction. 
VIEW SLIDESHOW Rita Ackermann"Fire By Days", 2012Installation ViewThe Journal Gallery   ; Rita Ackermann"Fire By Days", 2012Installation ViewThe Journal Gallery ;

Wednesday, May 2, 2012

Art in America online/Charles Long

Made for These Times: Charles Long Brings Pet Sounds to Madison Square Park

"It's fun to look at the faces on art world people when you mention Burning Man," laughs artist Charles Long. "They're just like, ‘ewww.'" Set to reveal his first major public art project, Pet Sounds,  today at Madison Square Park in New York, the Los Angeles-based Long culled his inspiration from myriad sources, including Nevada's famous temporary art community.

Comprised of six long, amorphous, Crayola Tempera-colored aluminum-and-fiberglass sculptures, Pet Sounds features surfaces embedded with sensors that activate sonorous electronic tones when caressed. (The work, which takes its title from the 1966 Beach Boys record, offers a verbal interpretation of pet noises.) Long was in the middle of composing the sounds when he spoke to A.i.A. by phone from Los Angeles on Friday. After a first listen, he began dabbling with ascending and descending electronic arpeggios, punctuated by the screech of a seagull. These sounds were being produced for a blue sculpture that Long says "looks very marine-like."

VIEW SLIDESHOW Rendering of "Pet Sounds" (2012) in Madison Square Park by Charles Long. Courtesy Tanya Bonakdar Gallery / Madison Square Park Conservancy; Rendering of "Pet Sounds" (2012) in Madison Square Park by Charles Long. Courtesy Tanya Bonakdar Gallery / Madison Square Park Conservancy;

Thursday, April 5, 2012

Art in America Online/Michelangelo Pistoletto

Pistoletto Is Our Mirror

"Arte Povera is the base of all the work that I do," says Michelangelo Pistoletto, which may surprise some admirers of his highly varied works. "We didn't want to just produce objects: we wanted to produce change." A new exhibition of Pistoletto's "Mirror Paintings," on view at Luhring Augustine in New York [through Apr. 28], shows the 78-year-old artist continuing his eternal quest to find meaning within a mirrored reality of contemporary society.
Lavoro – Atelier, 2008-2011Silkscreen on polished super mirror stainless steel, 59 x 59 inches (150 x 150 cm). Courtesy of the artist and Luhring Augustine, New York.; Lavoro - Vietato l'ingresso, 2008-2011Silkscreen on polished super mirror stainless steel, 59 x 59 inches (150 x 150 cm). Courtesy of the artist and Luhring Augustine, New York.    

Thursday, March 29, 2012

Art in America Online/Ugo Rondinone

At Gladstone, Ugo Rondinone Celebrates Solitary People

Thursday, March 22, 2012

Art in America Online/Henry Taylor

The Hunter-Gatherer: Henry Taylor as Sculptor

Monday, March 12, 2012

Monday, March 5, 2012

Wednesday, February 15, 2012

Art in America Online/Wu Tsang

In Both Bi- and Triennial, Wu Tsang Talks Community

Thursday, February 9, 2012

Art in America Online/David Lamelas

Conceptual Pioneer David Lamelas Works All the Angles

Thursday, January 5, 2012