Category: Sculpture

Calendar. 05.15.13.

Gemini capsule petroglyph by Kevin Sudeith
A petroglyph of the Gemini Capsule, by Kevin Sudeith. Part of the artist’s solo exhibit, Modern Petroglyphs, at [email protected] Project Artspace. Opens Thursday at 7pm, in the Flatiron District. (Image courtesy of the artist. Plus: see my WNYC profile of Sudeith from last year.)

  • NYC: Lorna Williams, Appositions: Still/Birth/Shit, at Dodge Gallery. Opens Saturday, on the Lower East Side.
  • NYC: Maria E. Piñeres, Playland, at DCKT Contemporary. Opens Wednesday, on the Lower East Side.
  • NYC: video_dumbo, at Eyebeam. Opens Thursday in Chelsea.
  • NYC: B&W — Two Photographers: Maximo Colon and Elisa Perea, at MediaNoche. Opens Friday at 6pm, in East Harlem.
  • NYC: Ralph Fasanella, A More Perfect Union, at Andrew Edlin Gallery. Through June 22, in Chelsea.
  • NYC: To The Friends Who Saved My Life: Moyra Davey, Hervé Guibert, Heinz Peter-Knes, Jason Simon, Danh Vo, Francesca Woodman, Rona Yefman, at Callicoon Fine Arts. Opens Sunday at 6pm.
  • NYC: Search for the Unicorn: An exhibition in honor of the Cloisters 75th Anniversary, at The Cloisters Museum & Gardens. Opens today.
  • NYC: Land Marks: An exhibition of earthworks artists, and Imran Qureshi, on the roof, at the Metropolitan Museum of Art. Through November 3.
  • Chicago: Theaster Gates: 13th Ballad, and Think First, Shoot Later: Photography from the MCA Collection, at the Museum of Contemporary Art Chicago. Opens Thursday.
  • New Orleans: Pat Steir, Endless Line and Self Portrait, at Newcomb Art Gallery. Through June 16.
  • S.F.: Andy Vogt, Submerged on the Surface, at Eli Ridgway Gallery. Through June 22nd.
  • L.A.: Mark Verabioff, Breakdown, a performance, at Night Gallery. This Saturday from 9pm-12am, in downtown L.A.
  • L.A.: Antonia Wright, Be, Marisol Rendón, So Dragons do Exists?, and Hugo Crosthwaite, Studies for CARPAS, at Luis de Jesus Gallery. Opens Saturday at 6pm in Culver City.
  • L.A.: Artifex, with Einer and Jamex de la Torre, Harry Gamboa Jr., Shizu Saldamando and John Valadez, at Koplin del Rio Gallery. Opens Saturday at 6pm, in Culver City.
  • L.A.: John Baldessari: Crowds, at ForYourArt. Opens Saturday at 4pm in Mid-Wilshire.
  • L.A.: Channa Horwitz, Orange Grid, at François Ghebaly Gallery. Through June 8, in Culver City.

Photo Diary: Teach-In at Cypress College Art Gallery.

Nationwide Museum Mascot Project
Costumes worn by the Nationwide Museum Mascot Project (more about them here). I really dug these as pieces of sculpture.

Nationwide Museum Mascot Project
A photo shows the SFMOMA mascot working the museum’s lobby.

Nationwide Museum Mascot Project
With that crafty basket head and those plaid paints, the MoMA mascot was the design antithesis of its staidly modern namesake. (And way freakier than the museum’s Martin Kippenberger.) Would pay cash money to see this one wandering around the museum’s architecture gallery.

Nationwide Mascot Project's MOCA mascot.
The MOCA mascot. The cardboard sign is a nice touch.

Marshall Astor
Plus: Marshall Astor’s Portrait of An Eye. The circle of videos was strangely absorbing (especially the ape playing the drums).

Okay, so I’m embarrassingly late to this exhibit. Unfortunately, it already closed. But if you live in the vicinity of northern Orange County, Cypress College Art Gallery has a student show opening on May 9.


Calendar. 04.10.13.

Michael Ballou at the Brooklyn Museum
A work in progress by Michael Ballou. Part of the artist’s solo exhibit Raw/Cooked: Michael Ballou, at the Brooklyn Museum. Opens Friday. (Photo by Pierce Jackson.)

  • NYC: Claes Oldenburg: The Street and The Store (on the sixth floor) and Mouse Museum and Ray Gun (in the atrium), at the Museum of Modern Art. Opens Sunday.
  • NYC: Photography and the American Civil War, at the Metropolitan Museum of Art. Through September 2.
  • NYC: Tim Hetherington, Inner Light: Portraits of the Blind, Sierra Leone 1999-2003, at Yossi Milo. Opens Thursday, in Chelsea.
  • NYC: B. Wurtz, History Works, at Bureau. Opens Sunday, at 6pm.
  • Miami: Hernan Bas, Boys in Peril?, at Fredric Snitzer. Opens Friday at 7pm, in the Wynwood Arts District.
  • L.A.: Takashi Murakami, Arhat, at Blum & Poe. Opens Saturday at 6pm, in Culver City.
  • L.A.: Jennifer Pastor, at Regen Projects. Opens Thursday, in Hollywood.
  • L.A.: Ernest Cole: Photographer, at the Fowler Museum at UCLA. Through July 7, in Westwood.
  • S.F.: Amusement: New Works from Skewville, at White Walls Gallery. Opens Saturday.

Miscellany. 03.24.13.

Gravity and Grace, 2010, by El Anatsui
Gravity and Grace, 2010, by El Anatsui. Currently on view as part of the artist’s solo exhibit Gravity and Grace: Monumental Works by El Anatsui, at the Brooklyn Museum through August 4. (Image courtesy of the artist and Jack Shainman Gallery. Photo by Andrew McAllister.)

  • Have something you need to get off your chest? Artists JEFF&GORDON want you to leave them a voice mail.
  • “It’s time to restore Marcel Duchamp’s urinal to the bathroom.” Randy Kennedy has a good piece in the NYT about art as a form of social service.
  • CultureGrrl picks apart how MOCA might be able to merge with LACMA. Needless to say, it would involve committees and a refund to Big Brother Broad.
  • I’m digging this L.A. Times series, in which artists discuss works they find interesting or influential in SoCal museums.
  • A site comprised entirely of Facebook comments.
  • The Accidental Audience: Brad Troemel has a thoughtful piece on the ways in which art is consumed, shared and regurgitated on the internet — sometimes unknowingly.
  • This new Art F City feature is something I can really get behind: understanding an artist through his/her stuff. First up is Paul Chan.
  • Peter Schjeldahl’s review of the Piero della Francesca exhibit at the Frick makes me really want to see the show.
  • Pete Brook’s “Pete’s New Friends” series. I love running into these on my Tumblr.
  • The urbanist philosophies of Batman versus Superman.
  • Totally late on this, but what the hey: Toyo Ito won the Pritzker Prize. And Architect magazine says, “Finally!”
  • An interesting essay in the Guardian about the myth of the American cowboy. Interestingly, a lot of the language and costume is derived from Mexican tradition.
  • Maureen Tkacik dismembers the Thought Leader class. Whoa.
  • There is an absolute stunner of a story by Jill Lepore in the New Yorker about the legal history behind the creation of the Guantanamo detainee camp. One of the first times that the notion of the unlawful combatant was employed in U.S. jurisprudence was in the 17th century, against Algonquian Indians trying to oust the British from New England. They were sent to the Caribbean and sold as slaves. (Subscription required.)
  • Journalism words to not live by, according to the Washington Post. Someone needs to come up with a list of these for art writers.
  • Book writer Edward Champion is trying to raise bucks to walk across the country. Help a blogger out!
  • The internet has had great giffitude this past week. Also here.

Miscellany. 11.05.12.

Iar II, a wood sculpture by Joaquin Ortega, in collaboration with Nayra Pérez Pimienta.(Image courtesy of Ortega.)

  • Deep thoughts from a 15-year-old about why museums suck: “The Getty has art of naked people all over the place; naked people on horses, naked men wearing helmets, naked women on rocks, a naked woman with a piece of cloth across her lap—they were pretty graphic sculptures. I don’t get it, why would a naked man wear a protective helmet when he should be protecting something more important?” (@ranjit.)
  • The best way to look at art: alone…
  • …on a treadmill.
  • How Trevor Paglen turns government secrets into art, in the New Yorker. (Subscription required.)
  • Recreating Google Street View.
  • “How Contemporary Art Lost Its Glamour.”
  • “Good critics are expensive. I am expensive. Academics work for free to get tenure, and, since they are worried about the approval of their colleagues, they are fearful of making value judgments. Also, most of my peers and contemporaries learned how to write magazine journalism. We know how to do a transition, we know how to do a lead, we know what a hook is, and we’re literate. Most critics today come out of art academia, where they don’t even understand the future-imperfect tense.” — Dave Hickey, in an intriguing-interesting, all kinds of rambly Q&A about the good ‘ol days, when the art world was a super-great Wild West run by 12 white guys.
  • Ai Weiwei makes a Gangnam Style parody. Chinese censors block it.
  • Nice round-up of the arts scene in Santiago, Chile.
  • The sad-amazing story of Monarch Bear, the bear on California’s flag.
  • On Tina Brown, Robert Hughes and the end of Newsweek in print: an interesting essay by former Time mag editor Jim Kelly.
  • How Anthony Bourdain has left “a crude hickey on this country’s food culture.”
  • Junot Diaz, on his sci-fi influences and young girls who battle skyscraper-sized monsters.
  • Speaking of sci-fi: how microbes can manipulate your mind.
  • The Sound of Earth, a spherical vinyl record.

Congrats to Dan from Vancouver for winning the LP Guide giveaway!



Photo Diary: Saint James and the Inca.

After a couple of weeks back in the U.S., I’m still trying to shift my brain from the Andes back to California. But one of the many pieces of art that keeps occupying space at the top of my brain is the above sculpture of Saint James, at the Casa Garcilaso in Cuzco. The saint, one of the Twelve Apostles, is frequently depicted slaying a Moor. (Though he was beheaded in Jerusalem in AD 44, legend has it that Saint James appeared to fight on the side of the Christians in a Christians-versus-Moors face-off in Spain exactly 800 years later — hence the image.)

But in the sculpture above, Saint James (Santiago, in Spanish) is shown slaying an Inca. The piece above is a replica of a sculpture from a church in the Apurimac region, which lies west of Cuzco. Unfortunately, the wall text provided little in the way of specifics — such as a date when it may have been made or if this was a common motif of the era. My semi-educated guess is that it was made at some point in the 18th century or thereabouts. Whatever the specifics, this surely has to be one of the most moving pieces of art I saw during my trip…

The Casa Garcilaso-Museo Histórico Regional is located on the Plaza Regocijo. It is open Tuesday through Sunday, from 8am to 5pm. Entrance for foreigners is with the boleto turístico.