即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
There is something irrepressibly compelling about the lewd animated videos of Wong Ping. Is it their flat surfaces rendered in popping colours? Or their dark narratives that resonate with the deepest recesses of the human psyche? They have been included in an impressive repertoire of group exhibitions in recent years, including One Hand Clapping at...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
Hélio Oiticica, Penetrável Filtro (1972). Courtesy Projecto Hélio Oiticica and Galerie Lelong & Co.
Art Basel 2019 opens to the public on Thursday, June 13, with two preview days, on June 11 and 12. Some 290 galleries from 34 countries will show work at the Swiss fair, which runs through June 16.
Larry Bell is an American sculptor and painter whose impressive body of work can be viewed across a single developmental arc of improvisation, experimentation and impulse. In an interview with Ocula, the artist said: 'I consider my work to be evidence of my studies and the externalisation of a current thought. It is also about intuition, improvisation and spontaneity; these elements all impact the final result.’ Bell's work also explores the relationship between light and surface, and also space, context and the viewer. This is especially apparent in his well-known glass cube series, which play with perspective, space and surface.
Beginning as an artist much aware of Abstract Expressionism, Bell began to incorporate simple geometric forms and pieces of glass and mirrors into his paintings, making spatially complex collages that created a certain dimensional dissonance. This experimentation with surfaces eventually allowed him to fully explore the possibility-rich relationship between light and the surfaces it touches. His glass cubes began with having thin film added to their glass panels by means of vacuum deposition, portraying different ways of light interacting with glass. These cubes play with the notion of space, and also mass and volume, giving the impression that the works are suspended in the air. Bell continued to push the boundaries of his materials, commissioning a device that coated surfaces more effectively, allowing for glass to be reflective, transmitting and absorbing of light all at once. He applied this technique to large glass sheets that were at once reflective and transparent that could both reveal and deceive, and be rearranged into multiple variations, such as in his 1974 work The Iceberg and It’s Shadow, made up of 56 large panels.
Bell has also incorporated these thin film deposition techniques onto other media such as on paper for his Vapour Drawings. His Light Knot series involve twisted, almost weightless forms of mylar film coated in thin metallic film hung from the ceiling, and moved and spun by even the slightest air movement.
Bell studied at the Chouinard Art Institute (now a part of the California Institute of the Arts) and he has participated in numerous institutional exhibitions, including the 1965 exhibition The Responsive Eye at the Museum of Modern Art in New York; as well as in exhibitions at the Guggenheim International, 1967; documenta 4 in 1968; and the Venice Biennale in 1976. He has enjoyed numerous solo exhibitions, including at the Pasadena Art Museum, 1972; Museum of Contemporary Art, Los Angeles, 1986; and Carré d’Art Musée d’art Contemporain de Nîmes, France, 2011. Bell also has his works in permanent collections such as the Centre Georges Pompidou, Paris; the Art Institute, Chicago; Denver Art Museum, Denver; Museum of Fine Arts, Houston, Texas; and the Museum of Modern Art, New York.Larry Bell lives and works between Taos, New Mexico and Los Angeles, California.
German artist, Günther Förg was born in 1952, and studied from 1973 to 1979 at the Academy of Fine Arts Munich. From 1992 until 1999, he taught at the Staatliche Hochschule für Gestaltung in Karlsruche. He died in 2013.
An extraordinarily versatile artist, Förg’s multidisciplinary practice spanned more than thirty years and included paintings, sculptures, installations, wall paintings, as well as a great body of architectural photographs. His work often reflects on modernity and its aesthetics, often paying homage to its masters—such as Mark Rothko, Brice Marden and Barnett Newman—, but equally undermining their authority, and extrapolating the failure of modernist ideals. As Paul Schimmel observed, ‘Förg makes formal work which seems to eschew formalism and even undermine its purity’.
Dan Graham is an artist, writer, musician and intellectual whose practice over the last 50 years has combined the aesthetics and concerns of Minimalism with the fundamental inquiries of Conceptualism. Throughout a shape-shifting and wide-ranging practice, Graham has often utilised the human body to explore the role of the spectator. Although curators and critics have found Graham's oeuvre difficult to summarise—due in no small part to the artist's own elusiveness about his art—Graham's practice has long been an important reference point for later generations, if not a cornerstone of Conceptual art.
Graham grew up in Winfield and Westfield, New Jersey, and in 1963 moved to New York City, where he would later publish a series of texts on art, architecture, music and television. In 1964, at the age of 22, he co-founded the John Daniels Gallery, which exhibited the work of Minimalists and Conceptual artists such as Donald Judd, Robert Smithson, Dan Flavin and Sol LeWitt, the latter of whom had his first solo show at the space before it closed. Following the closure, Graham continued to write music and art criticism while using magazines as outlets for early text pieces—a move seen as a rejection of the elitist limitations of the white cube. Printed in a fashion periodical, Graham's 1965 work Figurative is a reproduction of a supermarket register receipt, while his most well-known early work, Homes for America (1966–7) is a photo-based essay published in Arts Magazine. Embracing the ephemerality of the periodical with a dry humour traceable throughout his practice, the work comprises a series of photographs of homogenous suburban houses, emphasising the similarities between the repetition of post-war residential architecture and the starkness of Minimalism as he saw it at the time.
Long-engaged with the Punk and Hardcore movements, in 1987, Graham designed the cover of Sonic Youth's album Sister, while his 55-minute 1982–4 quasi-documentary Rock My Religion draws parallels between rock-and-roll culture and religious ecstasy. In 2004, Graham collaborated with the punk group Japanther and the artists Laurent P Berger, Rodney Graham, Bruce Odland and Tony Oursler on the rock opera Don't Trust Anyone Over Thirty, which featured puppets, live music, sound recordings and video projections. However, Graham is now most recognised for the combination of architecture and art in his 'pavilions'—although he has suggested he doesn't like the word, and prefers to refer to them as public sculptures. Begun in the late 1970s, the semi-functional sculptures combine curving mirrored glass, steel, and sometimes hedges and grass to distort perception and refashion the stoicism of Minimalist forms. Incorporating elements of bus shelters and skyscrapers, the semi-reflective pavilions act as bisecting structures and interventions in urban spaces, engaging a range of perceptual experiences, as artist/curator Peter Scott has written, 'from detached voyeur to entranced narcissist'.
In 2009, Dan Graham: Beyond (25 February–25 May, The Museum of Contemporary Art Los Angeles; 25 June–11 October, Whitney Museum of American Art, New York), the artist's first significant American retrospective, was exhibited, co-organised by The Museum of Contemporary Art Los Angeles and the Whitney Museum of American Art in New York.
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