This week: BAS west coast checks in from the YBCA for a chat with Jacqueline Kiyomi Gordon.
This week: Live from our bed at Volta, the fine folks of Propsect New Orleans! We talk to Franklin Sirmans the Artistic Director of Prospect New Orleans(who moonlights as the Terri and Michael Smooke Department Head and Curator of Contemporary Art at Los Angeles County Museum of Art) and the Executive Director of Prospect New Orleand Brooke Davis Anderson!
Plugs from our intro include:
Karen Azarnia, her installation work “Luminous” will be up at Terrain (http://terrainexhibitions.tumblr.com/)
May 4 – 28, 2014
Reception: Sunday, May 4, 4 – 7pm
704 Highland Ave.
Oak Park, Illinois
Opening May 22, 2014 at Rush and Chestnut Streets (50 E. Chestnutt)
Curated by Jeffly Molina
Jennifer Reeder’s new movie, help out, kickstarter!!
Frank would like you to know… “I mention Matisse’s brother as a dealer. I meant Matisse’s son Pierre Matisse who was the great art dealer. Matisse’s brother Auguste Emile was a painter as well.”
Do not email him about this. He is on top of his art history. For those of you who did not immediately recognize the error, for shame.
This week: CAA 2014 was the place and time, the event the BAS Art and Politics panel!! Daniel Tucker leads the charge with Duncan, Susy Bielak and Mary Patten along for the wild ride! Learn what the point of CAA is, finally!
This week: Amanda talks to Taylor McKimens!!
Taylor McKimens was born in 1976 in Winterhaven, California and lives and works in New York. He studied at Art Center College of Design in Pasadena, CA. McKimens has exhibited extensively and notably at Deitch Projects, NY, Macro Museum, Rome, The Hole, NY. Most recent exhibitions include: Studio d’Arte Raffaeli, When Things Get Back to Normal, Galerie Zürcher, Paris (solo 2011), New York Minute at The Garage Center, Moscow, curated by Kathy Grayson (2011), Spaghetti and Beachballs, curated by Donald Baechler, Studio d’Arte Raffaelli, Trento, Italy (2011) and Facemaker at Royal T, Los Angeles (2011).
Taylor McKimens initiates us in the suburban desert of the contemporary American wild west, portrayed as an extended backyard calling to be explored. Drainage ditches, weather-worn palm trees, dusty trucks make up the playing field where young characters embark on brave endeavors in an almost Edward Hopper-esque solitude.
McKimens is completely unperturbed by the messier side of things and in fact revels in the drips and oozes that are the traces of life. In one of the show’s major works, Knee Deep, the bright, acidic-colored canvas shows a young, baseball-capped girl stymied in a ditch.
McKimens creates a certain sense of no-time as if she has always been there and will always be there, contemplating her next move. Alternating between loose areas of color with atmospheric gesture and dense areas of confident line quality where even the slightest details, a fly on a shoe, a piece of trash in a puddle, are given equal stature on the canvas.