For all the sameness of material and process, Kobayashi was able to attain a wide range of nuanced feeling and subtle pictorial conventions in his tin artworks.
Throughout his career Kirili has evoked the body in his abstract sculptures, in an era when sculpture has often sidestepped the human form.
Maren Hassinger’s retrospective The Spirit of Things at the Baltimore Museum of Art not only validates her career but indicates something about our current political moment.
When looking at the pieces in William Villalongo’s Keep On Pushing exhibition, the question I’m faced with is: How do these bodies cohere?
Shortly after coming to San Francisco, Conner formed what he christened the “Rat Bastard Society.” Conner told the curator Peter Boswell that the name was fitting for “people who were making things with the detritus of society, who themselves were ostracized or alienated from full involvement with society.”
In 1987, Joe Becker, Lee Collins, and Mark began investigating the possibilities of generating a Universal Coded Character Set (UCS) that would, among other things, enable a computer to encode, transmit, and translate one language into another.
You know something is going on when you stare at work hanging on one wall and forget to look at what is on the gallery’s other three walls.
As Robert Creeley once said: “You can’t derail a train by standing directly in front of it, or, not quite. But, a tiny piece of steel, properly placed. . .” The piece of steel in this case is the work of Allison Miller, an abstract painter who began showing her paintings in Los Angeles in 2006, a decade ago.
MIAMI BEACH — In a cavernous tent right on the sands of Miami Beach, Untitled Art Fair is opening this Wednesday with a sprawling group of international galleries.
Looking at Marcia Kure’s watercolors and collages, the word that comes to mind is “torque.”
From Ulysses and Arjuna to Sir Galahad, Fletcher Christian and his fellow mutineers, Jack Kerouac and, more recently, Greg Smith, the quest (or road trip) for redemption, transformation, utopia, or just some very good peach-and-banana ice cream is a theme that spans world culture, from great literature to bad movies, with lots of stops in-between.
On the face of it, Gary Stephan’s paintings seem straightforward and austere. Done in acrylic, their viscosities of paint, range from striated, semi-transparent brushstrokes laid down with the same consistency as they span the canvas, to watery, semi-transparent irregular shapes, to solid geometric planes of color – virtuosity in plain sight.