Archives For Art

From his still unfinished 42 year old desert project named Star Axis to his work with light prisms and solar burns Charles Ross has spent a lifetime exploring the relationship of light and nature.

 

“Ross’s earthwork, Star Axis, is located in the New Mexico desert. It is both architectonic sculpture and naked eye observatory. The approach to building Star Axis involves gathering a variety of star alignments in different time scales and building them into sculptural form. Walking through its chambers you can see how star space relates to human scale and how the space of the stars reaches down into the earth. Ross conceived of Star Axis in 1971 and began building it in 1976 after a 4-year search through the southwest to find the perfect site—a mesa where one stands at the boundary between earth and sky. He’s now finishing Star Axis with a crew of local stonemasons. It’s made with granite, sandstone, bronze, stainless steel, and earth. When completed, Star Axis will be eleven stories high and a fifth of a mile across”.

via Charles Ross.

 

“Large-scale prisms are suspended in skylights and clear stories. Each is specifically aligned with the sun to project huge blocks of solar spectrum into the architectural space below. The spectrums continuously evolve throughout the day, expanding into bright washes or contracting into brilliant bands of solar color as they move through the space propelled by the turning of the Earth.

Each artwork is specific to the architecture and its location on the planet. The ultimate goal is to create a nexus of solar spectrum artworks around the globe so that as the spectrum sets in one location, it is always rising in another”.

via Charles Ross.

Nice profile about the rise of the David Zwirner Gallery and a excellent fly on the wall view into the obtuse workings of the art world by the folks over at The New Yorker.

“One of the reasons there’s so much talk about money is that it’s so much easier to talk about than the art,” Zwirner told me one day. You meet a lot of people in the art world who are exhausted and dismayed by the focus on money, and by its dominance. It distracts from the work, they say. It distorts curatorial instincts, critical appraisals, and young artists’ careers. It scares away civilians, who begin to lump art in with other symptoms of excess and dismiss it as another garish plaything of the rich. Of course, many of those who complain—dealers, artists, curators—are complicit. The culture industry, which supports them in one way or another, and which hardly existed a generation ago, subsists on all that money—mostly on the largesse and folly of wealthy art lovers, whether their motivations are lofty or base”

via The New Yorker article:

Dealer’s Hand

by Nick Paumgarten

via: http://www.newyorker.com/reporting/2013/12/02/131202fa_fact_paumgarten

The Photographs of Sarah Schonfeld

I love this series by Sarah Schonfeld. She basically decided to see what kind of chemical effects drugs would have on film. The results are beautiful yet mirror the troubling aspect of introducing chemicals into anything human or otherwise.  See the similarities between speed and caffeine and ponder how drugs effect not only humans but the visual aspects of film as well.

 

All you can feel 

“Since the 1950s, we in the western world have increasingly come to understand our most intimate desires and
experiences, as the products of a so-called “chemical self”. We are able to explain moods, angers, and diseases
both physiological and psychological through an imbalance of substances in the body. All of this, of course,
takes place against the backdrop of a constantly shifting legal and political climate regarding the regulation of
different types of mood altering substances.

 

What all these substances actually look like when their essence is visually depicted?

Sarah Schönfeld squeezed drops of various legal and illegal liquid drug mixtures onto negative film which had
already been exposed. Each drop altered the coating of the film. Much like the effect
of some of these substances on humans, this can be a lengthy process – sometimes one that can barely be stopped.

 

She then enlarged these negatives including the chemical reaction of the particular drug, to sizes of up to 160 x 200
cm. All of the substances behaved very differently: the shapes and colors that appeared showed unique characteristics
and revealed unique internal universes. Schönfeld explores the possibilities of photography at the frontiers of what
can be visually portrayed– the interface between representation and reality.”

 

via http://www.sarahschoenfeld.de/en/works/all-you-can-feel-2/

The nudes of Nadav Kander exhibition titled Bodies 6 Women 1 Man at the Flowers Gallery in London is maybe the best exhibition of nudes I have seen since Irving Penn did his wonderful series of Odalisque women.

via http://www.flowersgallery.com/exhibitions/flowers/nadav-kander-bodies/works#2927

Richard Serra walks us through his largest permanent installation Matter of Time at the Guggenheim Bilbao

He was not real impressed with the interior design of one of the most famous art museums on the planet…

“The architecture is a conceit, meaning that it’s tectonically untrue. I thought I would just take all that junk and dump it right in here as a some sort of institutional critique”

via  http://youtu.be/iRMvqOwtFno