In his first solo show, Bernard Klevickas has staged the space of Orchard Windows Gallery on the Lower East Side for contemplating industrial process and the aesthetics of machinery and its methods. Turbulence is a small, but detailed, show of sculptures created between 2002 and 2012 from metal and plastic, all with consciousness of surface and form.
Corinna Belz’s new documentary, Gerhard Richter Painting (playing at Manhattan’s Film Forum from now until March 27), offers a rare glimpse into the life and work of the celebrated and self-proclaimed “secretive” German artist. For a little more than 90 minutes, we watch Richter labor over two new paintings, as well as devise upcoming gallery shows and attend large-scale exhibitions of his own work. Although the reasoning behind Richter’s artistic choices may remain largely mysterious, a sympathetic rendering of the artist emerges.
The experience of visiting the new SBM Gallery in what was once the nether regions of Manhattan’s West Side is disorienting in all the right ways.
MIAMI — As with any developing city the arts community is in continual search for large and affordable work and exhibition space. Miami’s Wynwood Art District and later Design District have been for over a decade hubs for artists and galleries moving into large warehouse and empty storefront spaces. Wynwood is less of a gun-wielding neighborhood and now full of restaurants, bars and coffee shops inviting collectors to hang around the area.
CHICAGO — The eighth installment of a series in which artists send in a photo and a description of their workspace. This week, Amsterdam, NYC, Wilmington, NC and Columbus, GA.
It was a good day because I saw two solid solo exhibitions by Amy Wilson and Lucy Fradkin. Both artists find inspiration in naïve art and the miniature painting of Persia, India and Northern Europe, but they use their inspirations to different ends.
When the list of the 2012 Whitney Biennial artists was made public, it included a very interesting trio of names, probably not immediately recognizable to most of the visual arts world: choreographers Sarah Michelson and Michael Clark, and theater director/playwright Richard Maxwell. All three are extremely well known in their respective fields, but how and why are they relevant to the Biennial audience? Hyperallergic asked me to write a series of articles looking at performing arts, not performance art, in the museum context, and whether it’s an important, or completely arbitrary, shift in visual arts programming.
LOS ANGELES — Forget Art, the Beijing-based collective run by Ma Yongfeng, wants to get people talking to each other. Youth Apartment Exchange Project (青年公寓交换) is an initiative to encourage urban dwellers in China not just to share their items, but to exchange them. This could range from a simple exchange, like cell phones, to even trading and sharing apartments.
America is a country of immigrants, and the perspective of foreigners, newcomers and outsiders has always played a large a role in the history of contemporary American photography. Immigrants often have a way of showing us that which we cannot see for ourselves. In keeping with the tradition of outsiders looking in on our culture, a small exhibition on the first floor of the International Center of Photography, titled Perspectives 2012, showcases the work of three non-American photographers — Chien-Chi Chang, Anna Shteynshleyger and Greg Girard — who all focus their cameras on different facets of American life.
The first view of Shura Chernozatonskaya’s work is on the soaring white wall of the Brooklyn Museum’s lobby, spanning over forty feet and high above viewer’s heads. “Domino” (2012) is a painting installation of thirty-three canvasses set-out in a recognizable game formation: a yellow-to-blue chain tic-tacking its way across the threshold to the galleries. Each canvas is marked with approximations of the traffic-light symbol with circles of red/amber/green applied, in glowing transparency, to grounds ranging from pale lemon to deep indigo. Graphically cheerful in tone, the work nonetheless sparks significant cognitive tension. The integration of two distinct pictorially communicative systems, “domino” and “traffic light,” here orchestrates a string of yes/no, stop/go associations in a reception space where viewers’ expectations are strongest. “Domino” is a youthful work. It suggests a brave execution — an exuberant, if harmoniously imperfect, immersion in color and play — and is a fitting symbol to Raw/Cooked, the Museum’s bold new exhibition series of emerging artists of which Chernozatonskaya is the featured third.
Forrest Bess was born in Bay City, Texas on October 5, 1911, one year before Agnes Martin (1912-2004) and Jackson Pollock (1912-1956) joined him on this planet. Martin’s entry point was Macklin, Saskatchewan; Pollock’s was Cody, Wyoming. Martin and Pollock moved to New York in order to study, and left in order to preserve themselves. Both made the paintings by which they became famous after leaving New York.
Unhampered by false modesty, the timeline for Matt Freedman’s installation, The Golem of Ridgewood reaches all the way back to “Eden—6000 BCE,” where “G-d fashions Adam from the dust of the ground, and animates him.” That’s certainly one way to begin at the beginning, as the King of Hearts gravely advised Alice.