The letter urges the government to redirect millions in funds currently dedicated to converting Mexico’s largest park into a cultural center designed by artist Gabriel Orozco.
Gabriel Orozco
Posted inBooks
Gabriel Orozco’s Journals Invite Readers to Retrace His Steps
What makes Written Matter different from some artists’ journals is that one need not be familiar with Orozco — or even the legacy of Conceptualism to which his work is tethered — to enjoy it.
Posted inArt
Gabriel Orozco Has Given Up Making Art
The artist’s new installation in Mexico City, a functioning convenience store inside a gallery, peddles a false analogy between art and disposable commodities.
Posted inArt
A Lackluster Reunion for Five of Mexico’s Most Successful Contemporary Artists
MEXICO CITY — Between 1987 and 1992, a group of young art students in Mexico City formed a weekly flux group of creative exchange and critique as an alternative to the overly traditional fine art education available to them.
Posted inArt
Seeing the Hometowns of Famous Artists the Way They Might Have
Some artists display their hometown pride (or lack thereof) all over their canvases: One of William Eggleston’s most famous photographs, for example, was shot near where he grew up, in Sumner, Mississippi.
Posted inArt
The Ins and Outs of Contemporary Mexican Art, in Texas
FORT WORTH, Texas — It often seems like the world is made up of pairs: Christo and Jean Claude, Hall and Oates, peanut butter and jelly. Yet some things that seem like they’d fit well together have not cohabitated as one would assume. Take contemporary Mexican art and the state of Texas.
Posted inArt
Tracing a Path from Cubism to Digital Art
I first learned about Cubism in an art history class my sophomore year of college. I remember the moment of revelation, after reading a lot about but still failing to grasp what exactly Picasso and Braque were after. In the darkened lecture hall one afternoon, our teacher summed it up this way: how sparingly could you paint a face while still having the viewer understand it as a face? What was the bare minimum required for representation? As legend has it, these questions and the art they inspired changed the course of art history forever.
Is the same true of the digital revolution? That’s the premise of Decenter, an exhibition curated Andrianna Campbell and Daniel S. Palmer and currently on view at the Abrons Arts Center.
Posted inArt
Gabriel Orozco Brings Beach Collecting to the Guggenheim, I-Spy Style
In a side gallery off the Guggenheim’s main spiral, it looks like a tide of water came and went, leaving behind piles of bricks, wood, and detritus ripped from their original contexts and tossed into disarray. It’s not unlike certain parts of the New York City area, post-Sandy. The difference is that in the museum, the scrabble is neatly arranged into a rectangular patch of floor and organized by color in a rainbow gradient only slightly darkened by mud.
Posted inSponsored
Gabriel Orozco in Conversation With Benjamin Buchloh at the Guggenheim
Mexican artist Gabriel Orozco is a master of the appropriated object — throughout his career, he has turned mundane objects like pool tables, soccer balls, and yellow scooters into extraordinary sculptures. On Tuesday, November 13 at 6:30 pm, he’s speaking with legendary art critic Benjamin Buchloh about his latest project at the Guggenheim museum.
Posted inOpinion
Required Reading
This week, new Banksy, artists/writers design money, early Christian art, talking to Gabriel Orozco, catalogue raisonnés, modern art toilets, globalizing art history, design criticism and political photo trends.
Posted inArt
Art That Thinks Inside the Box
What is it about boxes that is so fascinating? I was thinking this as I went into Chicago’s Museum of Contemporary Art to see Pandora’s Box, a show that displays artist Joseph Cornell’s signature assemblages alongside the works of artists who allegedly were inspired by him or who were in artistic sympathy with him. I can think of historical precedents: medieval reliquaries; Victorian memento mori, which often look strikingly like Cornell’s miniature worlds. But these forebears don’t quite explain the combination of weirdness and visual beauty of something made by Cornell, nor the undoubted fascination with him since his death. His boxes frame the objects in a different way than a conventional picture frame, of course; they concentrate the viewer’s attention; but there’s something else, which finally came to me after I’d seen this show.
