Perhaps the most
interesting piece in the exhibition, «Colors Without Names» (2013), is also the most heavy - handed one.
Not exact matches
Chareau and his wife were keenly
interested in contemporary art, and the
exhibition reunites several
pieces from their collection of paintings, sculptures, and drawings by significant artists such as Piet Mondrian, Amedeo Modigliani, Max Ernst, Jacques Lipchitz, and Robert Motherwell.
To speak more about the selection process for this show, it is also
interesting to note that as we narrowed our focus there were a number of directions this
exhibition could have taken and while it became clear that we could have, for instance, created an entire
exhibition strictly of triangular shapes
in corners (with
pieces by Benglis, Morris, Smithson, and Turrell, for example), we chose to mount an
exhibition where each work engages the corner
in its own unique and distinctive way.
This second
exhibition of Wynne's work at the gallery presents new mirrored - glass words and revisits early mixed - media
pieces that contextualize his long - standing
interest in, and engagement with text.
Interested in the materials used for printmaking — wood, lead, steel — more than the finished product, Walton began to make three - dimensional
pieces after seeing an
exhibition of sculpture at the Pennsylvania Academy of the Fine Arts.
This
exhibition brings together many of the East London Group's most iconic
pieces, some of which have not been seen
in public for more than eighty years plus a few which have only come to light
in recent weeks, months or years since
interest in the Group was rekindled by David Buckman's book: «From Bow to Biennale».
This installation drew thousands of people and delved into revolutionary politics past and present, a continuing theme
in Fein's work.
In May 2010, Fein was invited by the New York curatorial project No Longer Empty to recreate his «Remember the Upstairs Lounge» installation
in a vacant Chelsea space.The
exhibition, once again, drew thousands of visitors and sparked renewed
interest in this
piece of history.
After an
interesting experiment with two - dimensional accumulations (Dadaist stamp prints dubbed «cachets») which he showed at a solo
exhibition staged at Paris's trendy Galerie Iris Clert
in 1958, Arman moved on to his «Coupes» and «Coleres» accumulations of objects which he cut into thin strips before smashing them to
pieces in public,
in a sort of action - packed performance art.
Victoria Adam is
interested in aggregating similar coins, air fresheners, fridge magnets, and similar things, as well as shells, organic fertilizers, fossils, and other relics, and then arranging them all together
in a form of
exhibition pieces.
Although
interesting in themselves, focusing too much on each
piece isn't necessarily helpful when exploring Contreras» aim with the
exhibition.
Perhaps two of the most
interesting pieces at the
exhibition are ArtClub 2000's C - prints of its members
in various states of theatrics
in and around New York.
Lots of
interesting artwork can be seen
in museum
exhibitions, such as Marlene Dumas
piece of art «Image as a Burden» exhibited at Stedelijk Museum Amsterdam and Vivian Maier «s work titled «Streetphotographer» at Foam Museum.
Charbonneau says that, following an
exhibition in this past year's Prague Biennale, Mat was working on
pieces for an upcoming group show at the Hole
in New York, while a Chelsea dealer had also expressed
interest in showing his work
in 2012.
Co-curator (alongside Pamela Alper, Associate Curator at MCA Chicago, and João Ribas, Curator at MIT List Visual Art Center) Julie Rodrigues Widholm acknowledges the importance of this
piece as a starting point, although it can't be represented
in the
exhibition: «Pica's references to childhood stem from an
interest in how our imaginations are shaped from a very early age.
In homage to this technique, for the purposes of this review, and for my general interest in chance I have written 9 pieces of information about the artist / exhibition, placed them in a hat and will withdraw them randoml
In homage to this technique, for the purposes of this review, and for my general
interest in chance I have written 9 pieces of information about the artist / exhibition, placed them in a hat and will withdraw them randoml
in chance I have written 9
pieces of information about the artist /
exhibition, placed them
in a hat and will withdraw them randoml
in a hat and will withdraw them randomly.
The
exhibition ties these
pieces quite well to the few large - scale, later canvases on view, showing the artist's continued
interest in the compositional considerations of vastly different subject matter, increasingly represented through realistic brushstrokes and the language of mass - market advertising.
It's
interesting that Armleder describes his work as «Furniture Sculptures» because this title somewhat retracts from some of the
pieces in the show, but this
exhibition is a must see if your
in New York.
An ongoing
interest throughout Terrazas» career has been the generation of integrated environments; whether that be the expanded floor paintings and city - wide color scheme of the 1968 Olympics, or the infinity environment of the mirror and digital installation
piece, Exponential Growth, from his solo
exhibition at the Museo de Carillo Gil, Mexico City,
in 2015.