The Geffen Contemporary at MOCA 152 North Central Avenue Los Angeles, CA 90013 October 29, 2007–February 11, 2008 The late 20th century art world had a bad conscience about high art which was vilified as serious, profound, mysterious, spiritual, elitist, pretentious, outmoded and labor-intensive. This led to infatuation with popular culture (silly, superficial, obvious, materialistic,…
Seeing Double is packed with elaborations of his trademark idiom: imagery transmogrified
Although Robinson’s snowscapes recall the nineteenth-century Arctic exploration that captured America’s imagination, her work also conjures our 21st-century fear of natural disaster—that nature will reclaim the manmade landscape by our own disregard for the environment.
Physical gesture means the artist’s hand is present yet transcended: there is no question that the arcs or circles are handmade, but an unforced, lyrical all-overness creates a cosmic, suprapersonal sense of order and well-being.
There is a pervasive ambivalence in Katy Grannan’s portraits: the gaze that returns the viewer’s is a mix of coyness and exhibitionism. The images themselves oscillate between similar extremes, building a visceral sense of the present through precision while succumbing to a remoteness that results from theatricality.
Published by Phaidon Press, 2007, www.phaidon.com 336 pages, 280 black & white photographs, 70 color photographs $69.95 When the findings of history, a discussion of uses and the reconstruction of story blend with criticism, portrait content, I hope, is enlivened. Still, the narratives within it keep on turning, like the expressions on faces, themselves… (p….
As Burri’s retrospective continues at the Guggenheim through January 6, a review from 2008
Lopez-Huici acknowledges the mythic power of the Venus of Willendorf, that of the earth mother and other myths of femininity, as she de-mystifies them through her subjects’ specificity and ambient humanity.
As the skies become grey, the sunlight becomes scarce, and the air becomes frigid, we find in snowy Buffalo at the Albright-Knox, a respite for all of this, an oasis of color and light.
Merlin James and Thomas Demand might seem as different as two contemporary artists can be. But a coincidence of means begs a comparison between shows of overtly contrastive mood and art-world temper. For both artists make their final images from models of their own making.