This week’s pick is not for everyone. Clocking in at about 20 minutes we bring you Sharon Hayes’ keynote address for the Creative Time Summit: Revolutions in Public Practice.
via Creative Time
“Sharon Hayes discusses how moving to New York City in the early 1990s and witnessing the AIDS crises and artistic community has forever affected both her life and artistic practice during her keynote address at the 2009 Creative Time.”
Yesterday LACMA launched a new addition to their website that showcases out of print and hard to find publications. I haven’t had a chance to check out a lot of the books that are currently up for their first series “Southern California Art of the 1960s and 1970s” but; I am really excited to see what they will be offering in the following months.
via Culture Monster:
Dubbed the ‘Reading Room,’ the new site is intended toÂ make books, catalogs and other literature available that wouldÂ otherwise be difficult to access, according to LACMA. The museum said that the site currently features 10 rare art catalogs, including ‘Six More,’ the catalog for LACMAâ€™s 1963 exhibition on L.A. pop; “Billy Al Bengston,” a rare 1968 monograph; and the surveys ‘Late Fifties at the Ferus’ (1968).
Among the features of the site are the ability to browse the publications page by page, perform text searches andÂ download the volumes in PDF format.
For more info check out LACMA’s Reading Room
Richard Rezac has a wonderful exhibition up right now at Rhona Hoffman Gallery (through February 2, 2010). In addition, the Modern Wing of the Art Institute is currently displaying six Rezac sculptures (spanning the years 1985-2008) from its Collection — they’ll be on view through early May. Rezac had a survey exhibition at the Gahlberg Gallery of the College of DuPage last year (the exhibition’s catalogue, which contains an enlightening essay by James Yood, is available for download on the Gahlberg Gallery’s website; just click on the link above to go there).
Richard generously agreed to answer a few questions about his latest works via email. I’m very grateful to him for taking the time to provide such illuminating and thoughtful responses.
You won the Rome Prize fellowship in 2006, which enabled you to travel to Italy to study Roman architecture in greater depth. To what extent did having a more sustained, daily interaction with Roman architecture impact your work?
That 11 month experience in Rome and in numerous parts of Italy has had a strong, and I trust, lasting effect, though because it was so substantive, I still do not know the extent of the influence. My purpose was to study the Baroque architecture of Francesco Borromini, whose 11 or so buildings are all in Rome. My approach in taking this in was naturally one of an artist, not an historian, though I certainly read what I could about his work and that of his immediate predecessors and those he influenced, especially Juvarra and Guarini in Turin.
The great pleasure was in seeing Borromini’s architecture (and eventually a large group of drawings in Vienna) on a near weekly basis, allowing me to feel aspects of his accomplishment and study many details. I was also privileged, by the American Academy’s offices, to gain entry to parts of his buildings normally off-limits.
The effect on my sculpture is not so clear to me, other than a continuation of some complexity – several materials or layers or juxtaposed forms within one work resulting in a, perhaps, more broad, gently argumentative, dynamic. In the long arc, though, of my sculptural language from the past 25 years, there has been an evolution from simple and concrete form to more extended, thin, linear and colored form, so the desire to be around Borromini’s architecture was in some sense anticipated by my work before I went there.
Along with architecture, I often think of interior design when viewing your sculptures. Some of them, for me, bring to mind things as mundane as contemporary kitchen and bathroom fixtures! After coming home from viewing your show, the kitchen faucets, towel racks, and cabinet knobs in my house–the particular geometries of their placement and their relationship to my body–all of a sudden stood out for me. Even the old-fashioned diamond tile in my bathroom floor started to “dance” for me in new ways. Am I being overly-specific here, or do you yourself ever draw inspiration from commonplace domestic interiors?
There is certainly a resemblance to ornament, facets of interior design objects, furniture, and architectural detail, such as moldings, in my sculpture of the past 6-8 years. I attribute this mainly to geometric form – the basic language in which my sculpture originates. Perhaps most manufactured applied design objects rely on the ease of elemental, efficient geometric forms. So there is an overlap, to be sure, between the common domestic accessories often handled or those elements produced in multiples as in tile flooring and the appearance of some of my forms or combinations.
I consider most of my sculpture, and all of those that are untitled, to be abstract and they may only arrive at some suggestiveness or association to domestic elements when completed and then exist in our space. I have rarely begun a work with the intention of representing another existing form, if anything it is in pursuit of a persona or complex phenomena. I am most interested, in as much as is possible for me, in starting with nothing and finding a satisfying form or arrangement.
January 25, 2010 · Print This Article
This week: The third of our NADA shows from Miami. This time Amanda and Duncan talk to Brendan Fowler and Paul Gabrielli.
Brendan Fowler (born 24 March 1978 in Berkeley, California) is a musician, best known for his work under the moniker BARR, based in Los Angeles. He is a regular performer at The Smell, a DIY music venue. He also co-runs Doggpony Records and is a co-editor of ANP (Artist Network Program) Quarterly – an Orange County based arts and culture publication funded by RVCA. He has recently played at the New York performance space, The Kitchen, and has been featured in Artforum Magazine. In 2006 Fowler curated a show at David Kordansky gallery in Los Angeles. New England Roses, a band consisting of Fowler, Sarah Shapiro, and Le Tigre’s JD Samson, released their debut, Face Time With Son, in 2005. His new electronic-folk-pop band, Car Clutch, with Ethan Swan, had their debut performance in fall of 2006.
New York-based artist Paul Gabrielli offers work of quiet maximalism. He approaches sculpture as an act of appropriation, assimilating other media into one comprehensive system. While Gabrielli’s practice can be seen as a continuation of his minimalist lineage, his specific objects are infused with a thwarted eroticism of both desire and restraint.
Gabrielli’s works straddle the boundaries of sculpture, photography, work on paper and video, experiments in form designed to encapsulate the physical manifestation of a single thought, with all its lyricism and paradox, desire and restraint. His pieces represent both interior visions and the very real destruction of the well-defined and corporeal. Read more
Off-Topic invites artists, curators, writers, and cultural workers to discuss a subject not directly related to the practice of making art. We would like to welcome Molly Schafer and Jenny Kendler who are tag teaming this post with , â€œSnakes on a Plane, Lemurs on a Plate: How Human Beingsâ€™ Actions Can Have Unexpected Consequences for the Natural Worldâ€. Both Molly and Jenny are Chicago based artists that have collaborated on numerous projects. Their most recent endeavor is The Endangered Species Print Project, which has recently been featured on numerous blogs. ESPP raises money through limited-edition art prints for critically endangered species.
Snakes on a Plane, Lemurs on a Plate: How Human Beingsâ€™ Actions Can Have Unexpected Consequences for the Natural World
Molly Schafer and Jenny Kendler
If youâ€™ve heard much about Guam, you most likely know it as the U.S. Territory that was the site of the Battle of Guam. In 1944, the U.S. took back possession of this tropical West Pacific island from the Japanese, who had occupied it following the attack on Pearl Harbor. You may have also heard the interesting story of a Japanese soldier, Shoichi Yokoi, who was discovered by hunters in 1972, having lived in a cave for 27 years.
Although Shoichiâ€™s story is probably one of the strangest to come out of Guam, during his 27 years living in Guamâ€™s forests, he would have been an intimate witness to one of the islandâ€™s saddest stories.
Let us imagine our unlikely protagonist on the night of the American invasion (with no accounting for exact historical accuracy): Our Shoichi hears shouts from the beach as the Americans land, and being a simple kind of nature-loving guy, and wanting no part of this fuss, he grabs a canteen and a flashlight and makes his way deep into the forest, nimbly leaping over lianas and roots down the forest paths heâ€™s grown to know during his time on the island. He heads to a cave that he had found some months before, where heâ€™d frequently camped out and laid in some supplies, most importantly, a pair of binoculars. You see, our make-believe version of Shoichi is an avid bird-lover. So, while our Shoichi was evading American troops in his grottoed refuge and keeping his ears open for the sound of shots or approaching footsteps — as darkness settled heavily on the steamy tropical night, he listened with a keen pleasure to the rich chorus of tropical birdsong filling the air.
If you or I were to walk Shoichiâ€™s favorite paths through Guamâ€™s forests today, weâ€™d have a very different experience. Sure, youâ€™d see all the hallmarks of tropical forests worldwide: lush vegetation, a truly huge variety of living growing things, moisture hanging thick and low in the warm tropical air — but then as your ears tuned into the sounds of the forest and your eyes strayed upwards, youâ€™d notice two very unusual things — two strangely interrelated changes to the forest, with a single historic origin. Yes, you might hear the sound of insects, the sound of leaf litter being crushed under your feet, but youâ€™d hear no birds. And as you looked upwards through your binoculars, to spy out these unusually silent birds, youâ€™d catch a sticky web across your face, and wiping it away, youâ€™d notice that there were webs everywhere. Guam is a tropical island now devoid of the music of birdsong and filled with enormous colonies of spiders. Clearly, these are the signs of an environmental imbalance — but what could be the cause? Read more