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LACMA Explores the Allure of Matter Ocula Report LACMA Explores the Allure of Matter 14 Jun 2019 : Jareh Das for Ocula

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...

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Thomas J Price: Reframing Classical Sculpture Ocula Conversation Thomas J Price: Reframing Classical Sculpture

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...

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Art Basel Lowdown: Shows to See Ocula Report Art Basel Lowdown: Shows to See 6 Jun 2019 : Tessa Moldan for Ocula

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...

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Related Press

Jasper Johns and the Question of Meaning

Peter Schjeldahl The New Yorker First published on 4 March 2019

Jasper Johns, Untitled (2018) (detail). © Jasper Johns / VAGA at ARS, Courtesy Matthew Marks Gallery.

More words may have been written about Jasper Johns than about any other American artist who isn't Andy Warhol. Critical verbiage spumes in the wake of a sixty-some-year career (Johns is eighty-eight) that began with revolutionary paintings of flags, targets, sets of numbers, and maps—or, per a standard paradox, paintings that virtually are those things. Many of the writers, who now include Alexi Worth, a contributor to the catalogue of a show of recent work by Johns at the Matthew Marks Gallery, remark with some ratio of awe and exasperation on the artist's taciturnity. He doesn't—will not, don't waste your breath asking him—discuss his works. This rankles, because what he makes seems positively to pant for discussion. Johns is a riddler, even—or especially—when his themes are blatant. In the present show, they run to death and sorrow, with a fillip of political history.

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