The Allure of Matter: Material Art from China at Los Angeles County Museum of Art (LACMA) (2 June 2019–5 January 2020) is an inter-generational show of 21 Chinese artists working from the 1980s to the present, including Ai Weiwei, Cai Guo-Qiang, Lin Tianmiao, Song Dong, He Xiangyu, Yin Xiuzhen, and Ma Qiusha.Staged on Level 2 of LACMA's Renzo...
When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...
To coincide with Art Basel 2019, which opens to the public from 13 to 16 June, galleries and institutions across the city are presenting a range of stellar exhibitions. From Rebecca Horn at Museum Tinguely to Geumhyung Jeong at Kunsthalle Basel, here is a selection of what to see.William Kentridge, Dead Remus (2014–2016). Charcoal on found ledger...
The moon as photographed by NASA'a Lunar Reconaissance Orbiter Camera. Courtesy NASA. Image via The New York Times.
COPENHAGEN — Outside Denmark's Louisiana Museum of Modern Art on a recent late-summer morning, a few sunstruck visitors were sprawling on the turf of the sculpture garden, between monumental outdoor works by Alexander Calder and Richard Serra.
Darren Almond is an English artist for whom the concept of time forms the crux of his work, particularly its fleeting and ephemeral qualities, and how they relate to space, history, memory, and the individual. He uses a wide range of media, including photography, film, installations, and sculpture, to produce highly abstract works that are both recognisable and uncertain, unfathomable, yet absolutely certain.
Almond addresses several aspects of time, such as the notions of waiting and duration, by building up certain tensions. The central theme of time becomes more apparent the longer one views his works, for the anticipation for resolution also rises. But herein lies a fundamental aspect of Almond’s abstraction that is difficult to resolve. Is time beyond our comprehension or is it simply our own construction? How can it be accurately measured if we have no definitive beginning and end points? By utilising such weighty, unanswerable debates, Almond gives his seemingly simple landscapes and journeys a deep sense of mysticism and ambiguity.
To give these concepts a visual grounding, Almond works with landscapes and other geographical locations, places that are often difficult to reach and isolated from the wider world. For his 'Fullmoon' series, which began in 1998, Almond has photographed landscapes on every continent under moonlight, using exposures of between 12 to 30 minutes to drastically change the nature of the landscape. The sky appears as if lit by the sun and edges are softened and appear more sculptural, while plants and rocks attain a dreamlike, haunting appearance, transmuting the landscapes to those of a young planet Earth. These works do not go through a post-production process, yet the pieces are rich in colour, almost appearing to have been hand-applied. They show how by allowing the landscapes to be exposed to extended time, new surfaces and colours are revealed that would ordinarily be hidden.
Almond also explores the relationship between time and humanity, focusing particularly on how we utilise time to organise society, and how it affects us. Almond’s films often observe a subject and their actions over a period of time. One example is Bearing, which follows a sulphur miner in Indonesia on his journey from the bottom of a crater that is producing plumes of yellow smoke, to a weighing station. The sculptures that Almond produces also deal with this relationship, often commenting on the mechanised way in which humans attempt to quantify the passage of time and use it. Of interest is the system of clocking in and out of work at specified times. He examines it by lining up hundreds of digital clocks on a wall, every single clock a constant reminder of the unstoppable movement of time.
Darren Almond was born in 1971 in Wigan, U.K. and graduated from the Winchester School of Art with a BA (hons) in Fine Arts in 1993. Beginning with an exhibition in 1995 at Great Western Studios in London, Almond’s solo shows include those held at The Renaissance Society, Chicago, 1999; Tate Britain, London, 2001; Kunsthalle Zürich, 2001; K21, Düsseldorf, 2005; SITE Santa Fe, 2007; White Cube, London, 2010; Sala Alcalá 31, Madrid Château Gallery, Domaine Régional de Chaumont-sur-Loire, 2012, Bloomberg Space, London, 2014; and White Cube, Hong Kong, 2016. He has also exhibited his works at the Berlin Biennale, 2001; Venice Biennale, 2003, the Turner Prize, Tate Britain, 2005 (for which he was a nominee); and the Tate Triennial, Tate Britain, London and Frac Lorraine, Metz, 2009.Darren Almond lives and works in London, U.K.
Scottish-born multi-disciplinary artist Katie Paterson teases out facets of overwhelming concepts—such as interplanetary time differences, the history of our planet, and the brevity of human lifespans—and makes them digestible. Through her immersive installations, text-based pieces and sculptures, she takes the audience from the massive to the minute, from the cosmological to the deeply personal.
Since graduating with a BA (Hons) from Edinburgh College of Art in 2004, and with a MFA from the Slade School of Fine Art in London in 2007, Paterson has become known for her research-based, conceptually driven process, and her Romantic, poetic and coolly minimalist presentation style.
Paterson uses both everyday and advanced technologies to connect her audiences with the sublime—such as faraway stars, planets, natural phenomena and meteorological events—as seen in Earth-Moon-Earth (Moonlight Sonata Reflected from the Surface of the Moon) (2007), when she converted Beethoven's Moonlight Sonata into Morse code and transmitted it to the lunar surface and back to a player piano.
Paterson is also known for reimagining and repurposing ordinary machines and everyday systems. For Vatnajökull (the sound of) (2007–8), she installed a microphone underneath a glacier and broadcast the sounds of the ice melting, live, to any phone that called 0775 700 1122; in her month-long project Streetlight Storm (2009), she set up the lamps on Deal Pier in Kent, England, to flicker anytime there was a lightning strike on Earth; and in Timepieces (Solar System) (2014), she calibrated nine wall clocks to tell the time on the planets in our solar system and on Earth's Moon.
Paterson regularly collaborates with experts to realise her artworks and expand her practice. She has worked together with technicians at the lighting manufacturer OSRAM to take spectral measurements of moonlight and apply it to a custom-made bulb (Light bulb to Simulate Moonlight ); and for All the Dead Stars (2009), she had leading cosmologists and 'supernova hunters' assist her in mapping the locations of just under 27,000 dead stars.
Similarly, Paterson has worked with nanotechnologists to carve a grain of sand down to just 0.00005 mm across, and then tossed it into the Sahara for Inside this desert lies the tiniest grain of sand (2010). In 2013, for Fossil Necklace, she enlisted a specialist stonecutter to hand-carve 170 fossils she had collected, found or bought, into tiny beads. She has also used advanced telescopic technologies to source thousands of detailed images of solar eclipses for her project Totality (2016). Whether consulting specialist space agencies, biologists or architects, or using sophisticated materials, Paterson produces works that prompt viewers to examine their place on Earth and their understandings of time and their own ephemerality.
Paterson has participated in both group and solo exhibitions throughout the United Kingdom and internationally—from London to Edinburgh, New York, Seoul, Berlin and San Francisco. Her artwork has been shown at the Scottish National Gallery of Modern Art, Edinburgh; Solomon R Guggenheim Museum, New York; Art Institute of Chicago; and the Museum of Contemporary Art Australia, Sydney. In 2014, she received the Visual Art award at The South Bank Sky Arts Awards, and in 2010, she became University College London's first artist in residence in the Department of Physics and Astronomy. She is also an Honorary Fellow of Edinburgh University.
This year, all Koreans at the Venice Biennale are women. The Korean Pavilion is curated by Kim Hyun-jin and three participating artists Jung Eun-young, also known as siren eun young jung, Jane Jin Kaisen and Nam Hwa-yeon. At the main exhibition, the works of three Korean women artists Lee Bul, Suki Seokyeong Kang and Anicka Yi are on view.
'My work', Bruce Nauman told Art in America in 1988, 'comes out of being frustrated about the human condition.' Black radical aesthetics and criticism prefigured my encounter with Disappearing Acts, the artist's retrospective survey at the Museum of Modern Art and MoMA PS1 in New York, which was first mounted at The Schaulager last summer in...
Somewhere in a maze of picket fences, golf greens and lakes, Vero Beach's The Gallery at Windsor is a remote haven for British art world patricians. It's currently two years into a partnership with London's Royal Academy of Arts, which annually brings a celebrated artist to the Atlantic coastline to exhibit.
Does it vex you, the environmental impact of Olafur Eliasson's Ice Watch? Do you hear about the transportation of 30 icebergs from the Nuup Kangerlua fjord in Greenland to be displayed in London as a memento mori for our inhabitable environment and judge the project a bit of an own-goal, sustainability-wise? You would not be alone – on personal...
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