LOS ANGELES — In a world where art seems to consist primarily of hyper-conceptual M.F.A. verbiage, it’s a relief to go to a museum show and actually have something to see. The California-Pacific Triennial, now on view at the Orange County Museum of Art (OCMA) in Newport Beach, California, definitely offers a feast for the eyes: paintings, video, light and sound installations, embroideries, synthetic skeletons, dead roses, a pop interpretation of Bernini (complete with Truck Nutz) and stoneware sculptures of little girls squatting in ways that are as innocent as they are bawdy.
The show was organized by curator Dan Cameron, the man behind Prospect New Orleans. It represents a re-launch of the old California Biennial, which has been around since 1984. Now held every three years, the survey has expanded its scope beyond California to include the entire Pacific Rim. The result: a lot of energy and some new names.
The exhibition offers a lot to see — so much that it is impossible for me to offer a coherent opinion based on a 90-minute press preview. Certainly, some of the usual biennial fare is on display (artists recontextualizing stuff), but a quick first-look reveals a deep interest in politics, the surreal and popular culture. This is definitely a show I’m going to go back to.
The California-Pacific Triennial is on view at the Orange County Museum of Art (850 San Clemente Drive, Newport Beach, California) through November 17.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.