Ocula MagazineContentsView All
Featured ContentView All
4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life Ocula Report 4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life 15 Feb 2019 : Natalie King for Ocula

'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...

Read More
Ellen Altfest Ocula Conversation Ellen Altfest

The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...

Read More
Colomboscope 2019: Cross Currents and Dissonance Ocula Report Colomboscope 2019: Cross Currents and Dissonance 8 Feb 2019 : Nada Raza for Ocula

On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...

Read More
Related Press

Among Things

Gordon Hall Art in America First published on 1 December 2018

Bruce Nauman, A Cast of the Space Under My Chair (1965–68). Concrete. 17 1/2 by 15 3/8 by 14 5/8 inches. Courtesy Sperone Westwater, New York. © Bruce Nauman/Artists Rights Society (ARS), New York.

EVERY ONCE IN a while I get an artwork stuck in my head. Bruce Nauman's A Cast of the Space Under My Chair (1965–68) was one such work. For years, while sketching new sculptures or gabbing in a studio visit, I would remember it, though I'll admit that for the first few years this happened, I didn't consistently remember who made it. I didn't pause to figure it out. The sculpture just made intuitive sense to me and bubbled up every once in a while.

A couple of years ago, I did some research about a legendary piece of found furniture called the "slant step" while looking for an example of an object that was beloved because of, rather than in spite of, its ambiguous functionality. I was surprised to learn that the slant step had been purchased for Bruce Nauman in 1965 at a thrift store north of San Francisco by his graduate school mentor, William Wiley. Nauman, Wiley, and others in their Bay Area artistic circle latched onto the slant step as a sort of icon—a model for art-making or even a way of living. They organized an exhibition called "The Slant Step Show," published a book, and created a wide variety of artworks dedicated to it, including Nauman's Mold for a Modernized Slant Step (1966), a rough copy of the object in plaster with a groove down the middle.

READ MORE ON artinamericamagazine.com

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

iCal GoogleYahooOutlook