Mar 112018
 

Cyprien Gaillard, Nightlife (Images above via Gladstone gallery)

At Gladstone Gallery, Cyprien Gaillard’s 3-D film Nightlife is a wonderfully immersive experience. Starting with Rodin’s The Thinker at the Cleveland Museum of Art, the film then moves to a series of plants and trees moving in slow motion in Los Angeles, followed by the annual Pyronale fireworks at the Olympiastadion in Berlin, and finally a return to Cleveland, where a helicopter lights up the site where Jesse Owens’ Olympic oak is planted. While the film plays, a dub song reverberates throughout the room on a loop, adding to the dreamlike atmosphere.

This exhibition closes 4/14/18.

Oliver Laric, Year of the Dog (Image via Metro Pictures)

At Metro Pictures is Oliver Laric’s two part exhibition, Year of the Dog. The video animation, the stronger part of the show, takes place in the main gallery.

From the press release

The animation continues his inquiry into concepts of metamorphosis, encompassing concerns about time and the complex dynamic between human and nonhuman lifeforms. Against a white background, linear animations of fish, fungi, and other figures move and change shape. The lines composing the animations continually extend or contract to zoom in on greater and greater detail, magnifying a sense of time as the images change. While the shapes and figures, as in his previous video works, are drawn from cartoons and Japanese anime, Laric’s subject matter has grown to also include animations based on live footage. He constructed the animation via an exacting technique in which each line moves continually between sequences—in contrast with traditional techniques in which each sequence consists of a series of redrawn frames. As the shapes perpetually transform, an atmospheric soundtrack commissioned from musician Ville Haimala establishes the sense of an unfolding narrative.

In the back gallery are three resin sculptures of a human dog hybrid holding a smaller dog in its arms, titled Hundemensch. Each sculpture is from the same mold but differs in opacity and color.

This exhibition closes 4/14/18.

 

Desiree Dolron, Complex Systems (2017)- Image via GRIMM

Finally if you are on the Lower East Side, near the ICP Museum and the New Museum is GRIMM gallery, which is currently showing Desiree Dolron’s video, Complex Systems (2017). Her digital illustrations of the movements of starlings are made more intense by the unnatural patterns she includes, and the sounds that accompany the piece.

From the press release

Complex Systems displays a digitally drawn flock of starlings, scattering throughout the sky in a loop of ever-changing patterns. In this work themes such as the fragility of existence, impermanence and the dichotomy between the individual and the collective form the conceptual ground of her inquiry. The title of the film is adopted from the scientific field of network research, which employs the term to define the complex interactions between different components of the same group.

The shapes assumed by the birds are proven to be the result of a defense mechanism system: in order to avoid attack by predators, a singular starling keeps track of seven others simultaneously – in doing so, the starling is able to adapt to the changing flying directions of the entire flock, thus keeping the collective intact. The dichotomy between the individual and the collective is at the core of Dolron’s interest in this natural phenomenon. Complex Systems investigates the relation between singular and shared intelligence, prompting questions concerning humanity, the psyche and the possible presence of a collective unconscious.

The link to the human psyche is emphasized by the cyclical character of the film; Dolron underlines the full turn of life in which the starlings function as a metaphor. Their movements change from an initial drive to a final, slow fall, while the murmuration happens in an eternal loop that symbolizes the cycle of life and its fragility. The movements of the starlings, combined with the pivotal soundtrack of murmuring voices that intensify and fade according to the flock’s movements, allude to the human mind in a state of constant flux.

Mar 082018
 

#Dysturb is a group of photojournalists who paste large-size posters in cities around the world, focusing on under-reported stories with the intention of getting this information to a wider audience. In addition to their public projects, they also have a quarterly print journal.

I first saw their work in Newcastle, UK (pictured above) as part of The Newbridge Project’s Hidden Civil War, a month of programming by various artists around the city in October of 2016.

#Dysturb’s current project is #WomenMatter, focusing on the fight against all types of violence against women. On International Women’s Day 2018, the group will be celebrating their fourth anniversary with a free discussion of this project, as well as their other work and the role of paste-up campaigns in contemporary documentary practice at ICP Museum in NYC.

Oct 202017
 

If you are heading to Chelsea this weekend, stop in to these galleries which have excellent shows closing 10/21/17.

At Jack Shainman’s 24th Street space are Leslie Wayne’s rich and colorful sculptural paintings for her exhibition Free Experience.

From the press release-

In Free Experience, I have returned to the figure-ground relationship as a way of exploring the range of possibilities for the representation of an illusion in as many different ways as possible, from trompe l’oeil to verisimilitude, while still remaining undeniably within the confines of a traditional painting. These paintings are a collision of abstraction and representation, of illusion and three-dimensional form. They are defined not so much by the shape of the objects they represent, but by the perceptual slippage between object and illusion. They are, like all my work, somewhere between sculpture and painting, and perhaps in Krauss’s view would simply be considered painting in the expanded field.

Looking at art is a free experience. It costs you nothing. But it should also be an experience that is free from encumbrances, one that inspires you to see the world as if for the very first time. But perception is a tricky thing. It is never without personal history. How do we see, what do we think we see? And what makes the experience of looking at a work of art so compelling? The answer lies outside of language, in that transformational moment between looking and seeing, between information and knowledge. In that moment before the need to translate the experience into language moves from the id to the ego. Seeing is indeed forgetting the name of the thing one sees.

 

Upstairs at David Zwirner’s 20th Street location, is the gallery’s first exhibition of the work of Ruth Asawa (pictured below). It includes many of her famous wire sculptures as well as works on paper, paintings, and vintage photos of her and her work taken by Imogen Cunningham.

 

 

Oct 202017
 

                                                            Fanon (Even the Dead Are Not Safe) 2017 (image via Metro Pictures)

Artificial intelligence is a growing field with numerous implications for the future, some more sinister than others. Trevor Paglen’s current exhibition at Metro Pictures gives some insight into this evolving technology.

From the Metro Pictures press release-

Trevor Paglen’s A Study of Invisible Images is the first exhibition of works to emerge from his ongoing research into computer vision, artificial intelligence (AI) and the changing status of images. This body of work has formed over years of collaboration with software developers and computer scientists and as an artist-in-residence at Stanford University. The resulting prints and moving images reveal a proliferating and otherwise imperceptible category of “invisible images” characteristic of computer vision.

Paglen’s exhibition focuses on three distinct kinds of invisible images: training libraries, machine-readable landscapes, and images made by computers for themselves. For Machine-Readable Hito, for example, Paglen took hundreds of images of artist Hito Steyerl and subjected them to various facial recognition algorithms. This portrait of Steyerl presents the images alongside metadata indicating the age, gender, emotional state and other signifiers that the algorithms have interpreted from the images. In another portrait in the show, Paglen trained facial recognition software to read the face of philosopher Frantz Fanon. A ghostly image of Fanon shows the facial signature–the unique qualities of a face as determined by biometric recognition software–used by computer vision to identify an individual.

To make the prints in Adversarially Evolved Hallucinations, Paglen trained an AI to recognize images associated with taxonomies such as omens and portents, monsters, and dreams. A second AI worked in tandem with the first to generate the eerie, beautiful images that speak to the exuberant promises and dark undercurrents characterizing our increasingly automated world.

The video installation Behold These Glorious Times! brings together hundreds of thousands of training images routinely used for standardized computer vision experiments and pairs them with visual representations of an AI learning to recognize the objects, faces, expressions and actions. A loose narrative begins to emerge about the collapsing distinctions between humans, machines and nature. Electronic musician Holly Herndon composed a soundtrack using libraries of voices created to teach AI networks how to recognize speech and other acoustic phenomena.

The image below is one of the prints from Adversarially Evolved Hallucinations. A series of these images, presented all in one room in the back gallery, are particularly unsettling as they have elements that seem familiar while remaining distorted. As artworks, they are captivating in their strangeness as well as their beauty.

                                                                Porn (Corpus: The Humans) 2017 (image via Metro Pictures)

 

The exhibition also has a printout with more detail about the creation of the work that goes beyond the press release, located at the front of the gallery. Make sure to leave time to take in this fascinating show. A Study of Invisible Images closes 10/21/17.

May 202017
 

                                                                         My Madinah. In pursuit of my ermitage…, 2004

Jason Rhoades Installations, 1994-2006 at Hauser & Wirth is a lot of show. It’s a big exhibition with several rooms packed with things. Many, many things. In one room numerous neon expressions for female genitalia hang over a mosque-like environment (above), and in another over countless tourist novelties, bare mattresses, and truck nuts (pictured below).

The earlier work, like My Brother/Brancusi, which was created for the 1995 Whitney Biennial, feels a bit stronger, or at least less controversial.  Photos of Brancusi’s studio and Rhoades’ brother’s room are on the walls, while his version of his brother’s room complete with a tower of donuts (somehow still intact) that alludes to Brancusi’s Endless Column, and mechanical objects, fill the center of the installation.

This description is from the press release of The Creation Myth, 1998, another of the better pieces in the show, and gives an insight into Rhoades thought process behind the work-

The artist sought to understand why, how, and what humans create by exploring Creationist and Evolutionist theories in tandem. The irreverent representation of the human body and brain is structured into levels to suggest our categories of perception: the archetypal, the real, the unconscious and the rebellious. Each of the six nouns in the work’s subtitle (‘The Mind, the Body and the Spirit, the Shit, Prick and the Rebellious Part’) is metaphorically portrayed, while the function of the brain itself unfolds through a calculated combination of readymades and images. A series of stacked tables constitutes the ‘brain,’ in which a ‘train of thought’ – a toy train mounted by a snake’s head and tail – circles. Digestible ‘information’ enters the ‘brain’ in the form of pornography-wrapped logs of wood, representing the physicality of creation. Cut and disseminated, ‘information’ is incessantly processed and reproduced by cameras, mirrors, and computers. Smoke rings erupt from ‘the Asshole,’ a fleeting byproduct of the frenzied machine, a personification of the Spirit, alluding to the pursuit of the ephemeral moment.

If you love his work, the chaotic installations and selfie opportunities will delight you. If not, there is still plenty to think about after seeing the work.

                                                                                             Tijuanatanjierchandelier, 2006

This is a good interview discussing the exhibition with the curator (and former partner in the gallery) Paul Schimmel.

This exhibition closes 5/21/17.

May 062017
 

                                                                                             Drizzle (Wangechi Mutu) 2010

                                                                                                  Redhead, 2015

Marilyn Minter: Pretty/Dirty at Brooklyn Museum is absolutely stunning and a must see if you are in New York. The four decades of her work shown in the retrospective offer a chance to see the artist’s progression in style and technique, as well as content.

The exhibit starts with early black and white photos Minter took of her mother, smoking in bed, applying makeup or just staring into a mirror, with a hint of a former glamour that has now faded. It becomes immediately clear that Minter’s interest in exploring standards of beauty were present early on.  Moving through the exhibit you follow her evolution into her current work. From her early Photorealist paintings, to suggestive paintings of food, and then moving gradually to work that more explicitly uses sexual imagery, including a series of pubic hair paintings for Playboy that were mostly rejected. In that same section her slow motion videos of thick liquids being licked up and spit out on a glass pane by a red lipped mouth, walk the line between fascinating and repulsive.  Her large scale photo-realistic enamel on metal paintings that make up a large part of the retrospective are a particular standout with their lush colors.  The exhibition ends with the video, Smash, 2014, in which ominous music plays as a closeup of feet in high heeled silver sandals and red painted toenails breaks glass and splashes silvery liquid in slow motion. It is mesmerizing.

This interview with Minter is interesting and shows the work in the retrospective (from when it was shown at the Orange County Museum of Art)-

This exhibition closes 5/7/17.

 

Dec 102016
 

 

todd-murphy-nov2017-stag

todd-murphy-murmuration-12016

Marc Straus gallery on the Lower East Side has two great sculpture shows closing this weekend (12/11/16). Todd Murphy’s mixed media sculptures are gorgeous creations which glow on the walls of the upstairs space.

On the first floor of the gallery, are Chris Jones’ intricate pieces created with images from discarded magazines and books. The details within these worlds become more and more apparent the longer one looks at them, including plants growing into other spaces and laundry tumbling out into other frames.
joneschris-after-they-had-left-2015

joneschris-portrait-1-14-25-x-11-5-x-1-in

jones-chris-of-vanished-alphabets-2016-05

(images via Marc Straus)

Dec 032016
 

aidasbareikiscanadagallery1116

Too Much Seaweed, 2016

This is the final weekend of two excellent exhibitions on the Lower East Side in New York. The first is Aidas Bareikis’ Barrel of Fortune at Canada gallery.

From the press release-

In Barrel of Fortune, his first solo exhibition at CANADA, Bareikis distills his enduring vision into bundled masses. He stacks and wraps cultural objects in fabric and string, building altar-like assemblages shrouded by paint and recognizable trash. The sculptures are propped up by found furniture, wood or aluminum, and exposed to forces like time, gravity, or the elements. Rendered in deep reds, acidic oranges and vintage blues, each work operates like a junkyard relic: a curious portal into another era slowly merging with the local flora. It’s here where Bareikis navigates, somewhere between scientific method and pure psychic automatism, covering his tracks in a role equal parts wandering scientist and mad poet.

And at McKenzie Fine Art, Reed Danziger’s new paintings are dense with small details and geometric patterns which combine to form a beautiful and energetic organized chaos.

reedalexanderfromdibsDetail from A Rearrangement, 2016 (image via 1st Dibs)

Nov 172016
 

 

street art los angeles dtla killyrslf @killyrslf_1 crass statue of liberty

This image is one of LA street artist Killyrslf’s versions of Gee Vaucher’s “Oh America, which was created in 1989 and used for the cover of an album by the group Tackhead. It was just recently used for the cover of British newspaper the Daily Mirror’s November 10th issue, which highlighted the results of the 2016 American election. For more information on the choice of the image by the paper and the artist herself (and her first major retrospective exhibition on now in Essex) check out this article.

Nov 062016
 

Unsatisfying by Parallel Studio

Love this funny, relatable video.

Here is some information from their Vimeo page-

During the summer of 2016, We created and directed a video about unsatisfying situations: the frustrating, annoying, disappointing little things of everyday life, that are so painful to live or even to watch.

We quickly realized that there are a lot of other situations that would be fun to see animated, so we decided to run an animation challenge around this idea.
Join the Unsatisfying Challenge Here : unsatisfying.tv/

Direction Animation and illustration : Parallel Studio
Sound Design : Zelig Sound
Music : Samuel Barber
Special Thanks to : Hugo Leick

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