'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...
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...
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...
Bruce Nauman: Sex and Death by Murder and Suicide (1985). Neon tubing mounted on aluminum. 77 15/16 by 78 3/8 by 12 5/8 inches. Exhibition view: Bruce Nauman, Disappearing Acts, MoMA PS1 (21 October 2018–25 February 2019). © Bruce Nauman/Artists Rights Society (ARS), New York.
Bruce Nauman provokes mixed emotions by creating situations rather than presenting figures for us to fear, pity, or empathize with. His artworks position us not as viewers but as participants, often unwilling. These situations vary in effect from pleasurable to nearly intolerable, as evidenced by the 170 works featured in the artist's mammoth retrospective at the Museum of Modern Art and MoMA PS1, "Bruce Nauman: Disappearing Acts." Get Out of My Mind, Get Out of This Room (1968), a sound installation in which Nauman's voice is heard growling the work's title in an empty room illuminated by a hanging light bulb, is unbearable.
Krakow Witkin Gallery features contemporary art of all media by emerging and established regional, national and international artists as well as representing several estates. The overall focus is on Minimal, reductivist and conceptually-driven works that have been made from 1950 to the present. Barbara Krakow first opened a gallery in 1959, exhibiting Ellsworth Kelly as early as 1965, Sol LeWitt in 1971 and being the first gallery in the US to show Joseph Beuys. Since 2004, Krakow has partnered with Andrew Witkin and in 2017, the gallery’s name changed to Krakow Witkin Gallery. The gallery co-represents the estates of Sol LeWitt and Fred Sandback. Since the 1980’s, it has published catalogue raisonnés of numerous artists’ prints, such as those by Kiki Smith, Sol LeWitt and most recently, Mel Bochner.
Located on Boston’s Newbury Street, Krakow Witkin Gallery presents two exhibitions simultaneously, one in the larger gallery and one in the smaller space. These shows change every six weeks. Along with this programming, the gallery has an ongoing project, One Wall, One Work, where a single work is exhibited on an isolated wall, thus providing artists and viewers the experience of seeing an isolated work (often-times some form of installation), as well as the smaller and larger exhibitions in the other two spaces. This spectrum of viewing opportunities is a key part of the gallery’s mission to not only present and promote artists and artworks it believes in, but to help provide enlightening experiences for those of varying knowledge- and experience-bases.
Since its foundation in 2001 by Park Kyung-mee, the former commissioner of the Korean pavilion at the 49th Venice Biennale, PKM Gallery has established itself as one of the leading contemporary art galleries in the world, representing prominent Korean and international artists through its creative programs in the context of global contemporary art.
PKM Gallery began with a renovated three-story residential building, providing 3,500 square feet of exhibition space in Hwa-dong, Central Seoul. The gallery successfully grew in stature with its various exhibition programs while actively promoting Korean emerging artists on the international stage. In the spring of 2008, PKM Trinity Gallery, located in Cheongdam-dong, opened as the second venue of PKM Gallery which had its focus on representing world-renowned artists in its impeccable exhibition space measuring more than 6,000 square feet. The gallery contributed greatly to making Cheongdam-dong as a cultural hub of Seoul, not a mere fashion and upscale commerce area but also a new destination for art lovers. In the spring of 2015, PKM Gallery will relocate to Samcheong-dong in the heart of the capital with its renaissance as the hub of art and culture. Its spectacular architecture of 6,200 square feet will become the landmark of this ancient quarter of the city where tradition and cutting-edge innovation coexist.
As one of the leading galleries in the global art world, PKM Gallery is committed to promoting contemporary art in the international artistic context and to providing sophisticated aesthetic experience to a wide audience worldwide.
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