Over the past decade, the Taos-based artist has outfitted two vintage RVs with hundreds of cast glass pieces that collect light from the desert sky.
It is Mary Corse’s use of the humble paint brush that allows the viewer to become sensitive to how light is dispersed in the space they occupy.
Though the two shows examine the void in distinctly different ways, only one gets it right.
The internet almost exploded last night when Drake dropped the music video for his track, “Hotline Bling.”
To create translucent sculptures in the colossal proportions he desired, De Wain Valentine needed a new type of plastic.
LOS ANGELES — Nothing about Turrell is standard. And everything about his work seems impossible.
Frank Lloyd Wright’s Guggenheim Museum in New York is one of the most famous contemporary art institutions in the world, and yet part of that fame, lending the place a kind of quasi-notoriety, is the idea that the building itself isn’t actually a great venue for showing art. Or as architecture Paul Goldberger wrote a few years ago in The New Yorker, “the charge that the building upstages the art has become part of its legend.” In my experiences at the Guggenheim, I’ve found that the legend often holds true — the perpetually sloping spirals of the space make for excellent wandering but distracted art viewing. In a new work by Light and Space artist James Turrell, however, the building may have finally found its match.
Robert Irwin has been a favorite of mine for some time now. His work helped to pioneer the 1960s California Light and Space movement, and it is often beautiful to experience in person. Having never seen his well-known window installation “1° 2° 3° 4°,” which was originally installed at the Museum of Contemporary Art San Diego, I was wanted to stop by his show at Pace Gallery in midtown Manhattan to see the piece revisited.
LOS ANGELES — As a primary member of the Light and Space movement of the 1960’s, Helen Pashgian played a pivotal role in establishing the legitimacy of California art in the second half of the 20th century. However, being one of the only women in LA’s macho art scene of the era, her work was often overshadowed. An exhibition of new sculptures at Ace Gallery Beverly Hills, as well as her inclusion in a recent encyclopaedic Pacific Standard Time show, aims to set the record straight.
Earlier this week I posted a review of MCASD’s current show Phenomenal: California Light, Space, Surface. Reading this, you might have thought, “Cool! Perceptual deprivation! Now I’ll know what it was like doing LSD in the 1960s and 1970s without worrying about passing a drug test at work!” Which is all well and good. But you also might have wondered, beyond the entertainment factor, why should you care. What exactly is the Light and Space movement and why is it important?