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...
Mary Corse, Untitled (White Multiple Inner Band) (2003) (detail). Glass microspheres and acrylic on canvas. 243.8 × 609.6 cm. © Mary Corse. Courtesy Kayne Griffin Corcoran, Los Angeles, Lehmann Maupin, New York and Lisson Gallery, London.
With a recent gallery installation at Dia:Beacon and an upcoming solo show at the Whitney in New York, Mary Corse is having a significant, well-earned moment of recognition. Working as a dedicated artist since the 1960s, she is one of few women connected to California’s west coast Light and Space movement. Directionally, though, her artistic focus contrasted with her Light and Space peers.
At the heart of Mary Corse's practice lies an interest in the subjective experiences of light and colour. As an artist positioned on the periphery of the American Light and Space Movement, Mary Corse is known for her lightboxes and monochromatic paintings made with a unique mixture of acrylic paint and reflective glass beads.
Originating in Southern California in the 1960s, the Light and Space Movement referred to a group of loosely associated artists who shared a penchant for exploring perceptual phenomena and pioneering the then-unconventional use of plastic, glass, resin and neon fluorescent lights in art. Partially influenced by the brilliant California landscape and its bright sun, ocean and surf culture, artists such as James Turrell, Robert Irwin and John McCracken developed a visual aesthetic that focused on perfectly polished surfaces and minimalist abstract forms. As one of the few women artists associated with the movement, Corse's contribution was not recognised until recently. While sharing with her contemporaries an understanding of perception as a subjective experience, she developed a distinctive practice that differs substantially from others of the movement in her deliberate inclusion of evidence of the artist's hand.
Throughout her career, Corse has experimented with embedding luminescence in her paintings, with a particular focus on white light. Beginning in 1966, Corse worked on a series of lightboxes that consist of Plexiglas lit by fluorescent and, later, argon-filled tubes. For another series titled 'Electric Light' (1968), she studied quantum physics and wireless cording to create light paintings suspended from the ceiling. It was also during this year that Corse discovered the possibility of mixing acrylic paint with the microspheres—glass reflector beads used to mark road dividers on the highway—that would become a hallmark of her work.
Having focused on all-white paintings in the 1960s, Corse began to introduce black in the following decade. Black Light Painting (1975), for instance, depicts a composition of white and black quadrangles. By painting the black sections in acrylic paint mixed with minuscule acrylic squares and microspheres, Corse transformed the colour black—commonly thought of as the absence of light—into a luminous shade.
Corse's evolving experimentation with light is grounded in her belief in the range of possibilities available to a single colour depending on light and perspective. From one angle, her acrylic paintings may appear to have an uninterrupted surface of monochromatic grids; from another angle, however, the varied texture of the brushstrokes and microspheres become visible, altering the impression of the same work. This optical illusion was extended with Corse's use of the 'inner band'—a composition of alternating columns of white and shades of grey—from 1996 onwards, in which vertical stripes appear and disappear as the viewer changes position.
Corse graduated with a BFA from the Chouinard Art Institute (now CalArts), Los Angeles, in 1963 and received her MFA from the same school in 1968. Her recent solo and group exhibitions in selected institutions include Lisson Gallery, London (2018); Seattle Art Museum (2015); University of Michigan Museum of Art, Ann Arbor (2014); J Paul Getty Museum, Los Angeles (2011); Gropius Bau, Berlin (2011); and Museum of Contemporary Art San Diego (2011). In 2018 the Whitney Museum of American Art organised A Survey in Light, Corse's first solo museum survey. The artist lives and works in Los Angeles.
Her current show features work by three artists: Yuji Agematsu, Charles Harlan, and Nari Ward. The theme of 'everyday objects'—ranging from carefully salvaged dross to mundane materials—loosely binds the selection.
In the back gallery, Rosha Yaghmai’s Miraclegrow shrinks the viewer even further still—to the size of a house spider traversing the artist’s tiled bathroom floor.These shifts in perspective are made possible by the fact that Stingily has newspapered over not just the street-facing windows, but the gallery skylights as well, eliminating all...
In the late 1980s, actress Isabella Rossellini brought the New York gallerist Leo Castelli to David Lynch's painting studio in Los Angeles. About their first encounter, Castelli, a shrewd dealer known for his discerning eye, said at the time, "This man knows what he's doing."Lynch had been making paintings, many of them depicting his...
Artist Mika Tajima—whose reliably alluring work examines the interplay between science, corporate design, financial markets, emotions, tools of control, art history, and quite a few more topics—is now represented by the Los Angeles gallery Kayne Griffin Corcoran.
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