Well, Jesus walks in Chelsea this month at Gladstone, where
an early pair of videos that Barney filmed of 1991 performances at the gallery — which involved such «Cremaster» - era motifs as petroleum jelly, Houdini, and palindromic footballer Jim Otto — will be on view alongside other related pieces, bringing the work together for the first time in a quarter century.
Not exact matches
The exhibit will include stunning hyper - realistic work by Churchill - Johnson — stark political statement contrasted with delicate, minimalist abstraction by Uyesaka — deeply engaging abstract oils by Scorzelli — dynamic and powerful ceramic insights by Rosenberg - Dent — fanciful, abstract adventures by Lehrer — an unsettling mixed - media installation with
video by auto - expressionist, Metrov — striking figurative vs abstract works by Ferris — a lively «abolish blandness» painting by Lytle contrasted with fabulous yarn work from the
early 90's — and a
pair of McCracken's, always delightful, miniatures.
The Museum
of Modern Art has added to its pioneering collection
of early computer and
video game designs: the New York museum has
paired up with the San Francisco Museum
of Modern Art (SFMOMA) to acquire Susan Kare's sketches for the very first Macintosh computer icons from the
early 1980s.
Other highlights from the sweeping exhibition include Romare Bearden's Jazz 1930s — The Savoy (1964), South Korean artist Lee Lee - Nam's digital
video Early Spring Drawing - Four Seasons 2 (2011), a
pair of Lakota gauntlets (ca. 1890), photography by Manuel Álvarez Bravo, Roy DeCarava, and Gertrude Käsebier; paintings by Emile Bernard, Ed Blackburn, Archie Scott Gobber, and Albert Bloch, sculptures by James Henry Haseltine and Tip Toland; works on paper by Kara Walker, George Copeland Ault, Miguel Rivera, and Jules Olitski; and decorative arts including a Christopher Dresser claret jug and umbrella stand, a frame by Archibald Knox, and jewelry by the late artist Marjorie Schick.
The
pair is presenting a selection
of «influential artists who began working with
video early in its development and traces a line up through 1990, bracketing an important period for this medium and a fertile time for artistic activity on Long Island,» according to the introduction to the exhibition.
In keeping with Silverman's curatorial philosophy
of «original version,» Holman's
video piece «The Magic Window» (2006 - 07) and accompanying drawings were
paired with two artists who have served as inspirations for Holman - two
early experimental pieces from Lynda Benglis («The Amazing Bow Wow,» 1976) and Joan Jonas («Vertical Roll,» circa 1972).
The
pair recorded their
early videos on the then - new technology
of videotapes, four
of which are on view at Lehmann Maupin Gallery's current exhibition Films and Sculptures, 1972 - 1981.