LOS ANGELES — Visitors to Scorched Earth, Mark Bradford’s exhibition at the Hammer Museum, are greeted in the lobby by a map that shows the US population infected with AIDS by state.
LOS ANGELES — The mood was festive last Saturday as throngs flocked to Art + Practice, a new hybrid art space in Leimert Park, for the opening of their inaugural exhibition.
WALTHAM, Massachusetts — There are two large buoys hanging in the front windows of the landlocked Rose Art Museum, sitting like beacons behind the glass façade. Drawn in by the swollen structures, I climbed the stairs, past Chris Burden’s “Light of Reason,” and into Mark Bradford’s imaginary waters.
I didn’t expect to write about the new show from Mark Bradford, who has been called by Guy Trebay of The New York Times “if not the best painter working in America today then certainly the tallest,” when I walked into Sikkema Jenkins on Tuesday morning. Despite the whimsy of Trebay’s “best/tallest” assertions, a credible case can be made for the former.
With the Hunger Games, The Fashion World of Jean Paul Gaultier and Halloween garment construction on my mind, all I could think about this weekend was athletic wear, so I thought I’d pull you into my crazy and share some references to athletic wear in art and visual culture.
The Boston art media are getting into a tiff, arguing if the newly redesigned ICA Boston is irrelevant-on-arrival. The Diller Scofidio+Renfro-designed home has actually heralded a new high point for a museum that is becoming one of the Northeast’s most dynamic, interesting contemporary art institutions.