Marcos López: “Asado en el Larreta”

Marcos López Sculpture

Asado en el Larreta. Photo by author

“La excusa es ir a ver el “hit” ASADO EN MENDIOLAZA, con una intervención-instalación donde la fotografía interactúa con una “mesa servida” con cabezas de chanchos de goma compradas en china por 25 dólares y morcillas compradas en el barrio de once”. Así define Marcos López el planteo general de su muestra individual en el prestigioso Museo de Arte Español Enrique Larreta en la ciudad de Buenos Aires. Y estas palabras –en especial la calificación de “hit”- responden a que la imagen en cuestión del Asado en Mendiolaza (de la serie “Sub-Realismo Criollo” en Córdoba, 2001), obra que ya forma parte de un repertorio reconocido internacionalmente por los entendidos en fotografía. Continue reading

Wade Schaming’s Witty Towers

Wade Schaming Sculpture

Installation View: Perfect Tower, Brooch Tower, Remington Tower. Photo credit: Ken Shung

Wade Schaming’s twenty giant towers turn his solo show at Residency 108 into a star turn. Located in Clermont, New York, It’s five minutes from Bard but a bit off the beaten track for New York City residents. The exhibition, from January 18th  through March 15th in the farm’s studio and horse arena, juxtaposes geometric forms that otherwise  function as furniture, farm equipment, hay, and utilitarian objects into “towers” with loaded titles.  “As a kid playing with matchbox cars, I’d use random stuff in the house as buildings, and that’s where it all started,” Schaming tells me in his icebox-cold, 18 x 10-foot Greenpoint studio one winter morning. Continue reading

Provocateur and Degenerate: Nikita Kadan’s Limits of Responsibility

Nikita Kadan Sculpture

Courtesy waterside contemporary, London

Maidan Nezalezhnosti (literally: Independence Square) in Kiev, Ukraine has a particular significance which in many ways goes back to just before the collapse of the Soviet Union in 1991. Beginning in 1989 with the student led protests against Soviet occupation, the square has played host to a series of political demonstrations aimed at altering Ukraine’s post communist leadership and direction. In an article for Frieze Magazine last year, artist Sean Snyder and Olga Bryukhovetska, a Professor of Cultural Studies at the National University of Kyiv-Mohyla Academy, Ukraine highlighted the significance of the square, often simply known as ‘Maidan’ (‘square’) in Ukraine’s ongoing political turmoil.[1] This was further illustrated when the square was blocked off in the early 2000s as part of a rebuilding program;  a move viewed by many as an attempt to restrict the use of the square for the purpose of political demonstration in a tacit acknowledgement of its history as a site of political action. Continue reading

Artists and the U.S. Mint

mint-feature

For most people, coins are just things that jingle in one’s pocket, accumulate in jars or feed parking meters. They are occasionally counted after a purchase but rarely the subject of close examination. Try telling that to Joel Iskowitz, an artist at the U.S. Mint in Philadelphia since 2006, who calls coins “an ambassador to the rest of the world. They can be eloquent and iconic in telling a story” of American and world history. They “tell” that history through the front and back designs, and it is fine artists that the Mint often looks to hire in order to develop the images used on both sides of American coins and medallions. Continue reading

Susi Brister: Slippery Tensions

Susi Brister Sculpture

Susi Brister, Bahamian Breeze. Photo courtesy the artist.

Susi Brister’s work tiptoes between the intersections of photography, temporal sculpture, and performance. While the finished product comes to us as a traditionally hung photograph, Brister’s process is undeniably both sculptural and performative. The creation of the performance props are both time consuming and complicated, demanding many hours learning about hair extensions, silk flowers, or a particular type of fabric. During the shoot itself the physical reality of the sculptural prop and the activating body collide, creating a situation that has aspects of both control and variability. The separation between synthetic materials and the natural environment is an idea that Brister has chosen to focus on in her most recent body of work.  Continue reading

The Human Factor: The Figure in Contemporary Sculpture

factor-feature

The Human Factor: The Figure in Contemporary Sculpture presents an exhibition in a book, in a more satisfactory format than the usual catalogue. The show, which ran at the Hayward Gallery (which also published the book) in London from 17 June to 7 September last year, includes 25 artists working during the past 25 years. The sculptures demonstrate a very wide range of media and strategies in figuration, from manequins to boxy molds to elaborate tableaux. Essays by Ralph Rugoff, Penelope Curtis, Martin Herbert, James Lingwood, and Lisa Lee helpfully contextualize the work on view and the argument of the exhibition that there has been an upsurge of figural work over the past two and a half decades.  Continue reading

Creating A Great Advertisement For Your Art Business

Plutchik wheel sculpture

Plutchik wheel

Each day we are bombarded with literally thousands of sounds and images in the form of advertisements trying to get us to notice a product or idea and then persuade us to take some form of action – like buying a product or supporting an idea or cause.  It takes a great ad to cut through the clutter and get noticed – something which is easier said than done! Continue reading

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