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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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Related Press

MARY CORSE: A Survey in Light

Elizabeth M. Gollnick The Brooklyn Rail First published on 11 July 2018

Mary Corse, Untitled (White Multiple Inner Band) (2003). Glass microspheres and acrylic on canvas. 96 × 240 inches. Courtesy Kayne Griffin Corcoran, Los Angeles, Lehmann Maupin, New York; and Lisson Gallery, London. Photo: © Mary Corse.

At the entrance to Mary Corse: A Survey in Light at the Whitney Museum of American Art, a monitor plays White Light (1968), a film showing a young Mary Corse at work in her studio. In one scene, Corse holds a square of fluorescent tubing, moving it playfully in front of the camera. The square begins to glow, seemingly from within, without any apparent wires or electrical source. This scene encapsulates Corse’s 'light painting' practice, developed in the 1960s during the postwar technology boom in Southern California. Corse’s work has been aligned with several strains of postwar abstract art, including Minimalism and Light and Space. She engages with issues of interest to both groups, including the relationships between the work of art and the space of exhibition on one hand, and the engagement of a spectator on the other.

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