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Surface. A Sneak Peek of Nike’s Hotly Anticipated Tiffany Sneaker, and Other News – SURFACE. 6 de febrero de 2023 04:03. monument, artist, sculpture, art, museum, painter, history, exhibition.
Shortly after unveiling a monument to Martin Luther King Jr and Coretta Scott King that divided critics, Hank Willis Thomas has announced his latest work. The artist was tapped by the NFL to create a stainless steel sculpture outside the State Farm Stadium in Arizona during the Super Bowl on Feb. 12. Willis Thomas drew from a 2015 artwork to create the ten-foot-tall sculpture, Opportunity (reflection), which depicts the arm of an unidentified player catching a football. “The ball is a metaphor for the present moment and what we do with it,” he told the New York Times. “In team sports, it’s all about what the collective does with the present moment toward achieving a goal against sometimes unlikely and unseemly odds.” After the Super Bowl, the work will travel to the Arizona State University Art Museum. The UK Supreme Court has ruled in favor of residents of the Neo Bankside flats, who claimed that the Tate Modern’s Herzog & de Meuron–designed Switch House extension invaded their privacy and prevented them from enjoying their homes. The ruling stated the Switch House’s viewing gallery caused “substantial interference” with the residents’ properties and was a “straightforward cas
Hyperallergic. Artist Jorge Pardo’s Sea View Home Reopens as an Art Gallery. 6 de febrero de 2023 01:02. art, museum, exhibition, artist, curated, sculptures, paintings, architecture, history, artistic, sculpture, architect, curator.
LOS ANGELES — In 1993, the Museum of Contemporary Art (MOCA) in Los Angeles offered Jorge Pardo an exhibition as part of its Focus series. The young Cuban-born artist had begun making a name for himself with objects that blurred the lines between art and design, but this would be his first solo museum show in LA, where he had settled after receiving his BFA from Art Center College of Design in Pasadena in 1988. Instead of creating pieces to display inside a museum, he conceived of an artwork that would exist entirely outside of it. “I have a sloped lot and an idea for a house,” he told Hunter Drohojowska-Philp in the Los Angeles Times in 1998. “How can I take those ingredients and make them do something you wouldn’t expect?” Five years later, Pardo’s exhibition opened on Sea View Lane, a house conceived as both an artwork and residence perched on a hill in the neighborhood of Mount Washington. Every weekend for the run of the show, shuttle buses would ferry visitors from MOCA’s downtown location to the site in Northeast Los Angeles. “It was an exhibition that could measure what the museum could handle in terms of [...]
Hyperallergic. Joe Fyfe – Hyperallergic. 6 de febrero de 2023 01:02. art, exhibition, catalog, curated, painting, paintings, painters, museum.
Joe Fyfe (b. 1952) has shown his work internationally since the early 1980s. His work was included in the legendary "Times Square Show," New York (1980) organized by Colab; and his work has been the subject of solo exhibitions at Christian Lethert, Cologne; ACME, Los Angeles; White Columns, New York and James Graham & Sons, New York; Galerie Bernard Ceysson, Luxembourg and Galerie Ryellga, Hanoi, Vietnam among others. His next solo exhibition will be at Longhouse Projects NYC in December 2014. Fyfe’s writings have appeared in Artforum, Art in America, Artnet.com, Gay City News, Artcritical.com, Art On Paper, and BOMB, as well as numerous catalog essays. He has curated exhibitions for Zurcher Studio, New York; Cheim & Read, New York; and Apex Art, New York, among other venues. It is not so much what message is narrated or illustrated, but how the form of the painting is questioned in its realization. Whitney’s paintings at this point seem to embody the transitory. Robert Bechtle’s photorealist pictures of suburban California resist exoticism as much as Delacroix’s paintings of Algerian harems. Masters of painting are occupying major venues in New York this winter. Egon Schiele at th
Hyperallergic. Hans Hartung, No Matter What They Say. 6 de febrero de 2023 01:02. art, painter, artist, paintings, paint, museum, exhibition, painting, curated, sculpture.
It could be argued that the German-French painter Hans Hartung (1904–1989) had overall a bigger influence on art than the Abstract Expressionists. By the 1930s, he was a painterly nonobjective artist. Reproductions of his work had reached the US, and his paintings were also seen in the A. E. Gallatin Collection here in New York. He was the bridge between pre-war German Expressionism and post-war German abstraction. Hartung’s odd technique, derived from his auxiliary practices of photography and printmaking, of using a wide variety of tools and plants as paint applicators, married the optical to the haptic. Gerhard Richter’s paintings made from gradations, dry brushing, and squeegees, compounding the photograph in paint, are heavily indebted to Hartung, who anticipates the imprint-as-painterly-mark aesthetic of Christopher Wool, Wade Guyton, and Rudolf Stingel. In addition, Andy Warhol’s first abstractions, the Shadows series (1978–79), were directly influenced by Hartung’s 1975-76 Metropolitan Museum of Art exhibition. Hans Hartung: Revenge, currently at Perrotin New York, refers to this show 47 years later, seeking to redress the damning New York Times review by Hilton Kramer tha
Hyperallergic. Art Between Land and Self . 6 de febrero de 2023 01:02. art, exhibition, curators, artist, sculpture, museum.
In their exhibition statement, the curators of the multimedia exhibition Ecstatic Land describe having been inspired by the etymology of the word ecstatic — the Greek ekstasis means “to stand outside oneself.” According to curators Daisy Nam and Dean Daderko, “In nature, and particularly in the vast expanses of the desert, one can experience physical contact with the earth while being emotionally and psychologically transported elsewhere.” This sort of elsewhere, however, is not necessarily another physical location. For each of the artists included in the exhibition, deep immersion in their environments has caused inner and outer landscapes to merge. “Nature” comes clearly into view as a state of entanglement between the experiencer and the experienced. The works included in Ecstatic Land invite us to suspend any perceived sense of individual boundary, and to become part of the landscape. This purview contrasts starkly with US and European art historical movements of the 19th and 20th centuries that objectified the surface of the earth, either by literally sculpting it or by portraying it as a scene to be gazed upon by a removed observer. But land-inspired art in an age when hug
Hyperallergic. One-on-One With Cyclona. 6 de febrero de 2023 01:02. art, curators, exhibition, artist, exhibit, sculpture, museum, curator, paintings.
Editor’s Note: This is part of the 2022/23 Emily Hall Tremaine Journalism Fellowship for Curators, and the second of three posts by the author, the third of which will be an email-only exhibition sent to all Hyperallergic subscribers. In this interview with Robert Legorreta, also known as “Cyclona,” we discuss the origins of his performance art, collaborations with the artist Gronk, and ongoing political activism. Legorreta (b. 1952, El Paso) was raised in East Los Angeles and began his first public performances in 1966. Noted performances include the debut of “Cyclona” in the 1969 play, “Caca-Roaches Have No Friends” and a 1971 wedding performance at California State University, Los Angeles. He collaborated with the art collective Asco and his longtime friend Mundo Meza. Legorreta was also involved with the non-profit, VIVA, Lesbian and Gay Latino Artists. Legorreta discusses the power of rock and roll music on his generation and parallel scenes that pushed the boundaries of gender, drag, and performance, such as John Waters, Divine, and Andy Warhol. As a Los Angeles artist, Legorreta pre-figured the “terrorist drag” of Vaginal Davis. Legorreta considers himself a teacher and act