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Sculpting the Thingness of Light

LOS ANGELES — For Helen Pashgian, art exists at the intersection of the material and immaterial. Her use of industrial materials, such as acrylic, epoxy, resin, and metal, combined with complex fabrication processes serve to make the presence of light a substance unto itself. Helen Pashgian: Light Invisible, the artist’s first large-scale sculptural installation, at the Los Angeles County Museum of Art, showcases the alchemy of this intersection that transforms both material and light into visibly evanescent forms.

nycartscene

recently opened: “Overculture” William Powhida Postmasters Gallery, 54 Franklin St., NYC You know William Powhida and his colorful painted lists of rants, instructions, jokes and truths. Here they are supersized and in oil paint. “My studio practice is based in drawing, which I like to think of more as a thought process than a way of working. My work tends to draw out a concept, often a critique, through some formal means. Primarily, I’m known for drawings of trompe l’oeil lists and letters authored in the voice of “Powhida,” a sensationalist, self-loathing and unreliable narrator… While it doesn’t take much to get me drawing, following a critical inquiry to unusual and uncomfortable ends is where the energy is, like having a long conversation about coyotes with a taxidermist.” - William Powhida to The L Magazine’s Paul D’Agostino photo by Jason Andrew

opticallyaddicted

180 CANVASES

From 180 Canvases’ Behance page:

"180 Canvases is a site specific installation designed to fill the space of Arrow Factory gallery in JianChang Hutong, Beijing. Arrow Factory is a 15 m² independently run alternative art space founded by artists Rania Ho and Wang Wei, which occupies a former vegetable stand and which is now hosting exhibitions on a monthly base. We played with the original concept of the space, a shop-like show window facing the hutong lane, inserting an element of surprise to catch attention of passing-by viewers. The contrast of a colourful Wunderkammer featuring 180 canvases painted by hand strikes with the grey colour of surrounding walls, bringing some reminder to local tradition of chinese colourful paper cutting and the common habit of people to hang up wires on which they put clothes to dry on the public lanes."

The installation is part of Instant Hutong’s pursuit of “Theory of Moments,” a research project that investigates undefined, “abandoned or under-used spaces in downtown Beijing.” The end turns flat, colored canvases into a a stunning rainbow lattice:

Enjoy more of 180 Canvases, and check out more work by the artists on the Instant Hutong website.

https://www.behance.net/gallery/180-CANVASES/15150453

http://thecreatorsproject.vice.com/blog/site-specific-installation-180-canvases-simulates-a-cabinet-of-curiosities

iheartmyart

Ben Roberts, from his photo series, Amazon Unpacked, 2011

The interior of Amazon’s giant fulfilment centre is the size of nine football pitches. The efficiency of these warehouses is what enables Amazon to put parcels on customers’ doorsteps so quickly.

sculpture-center

FEATURED ARTIST: Ann Greene Kelly, Untitled (Blue Rock), 2012. Carved alabaster, wood, metal. 45x20x20”. Courtesy the artist.

foryourart

LA art around Art Basel Miami Beach

manpodcast

This week’s Modern Art Notes Podcast features Erwin Redl. The Toledo Museum of Art is exhibiting Redl’s newest work, Floating, In Silence (2013) in its SANAA-designed Glass Pavilion. Redl developed Floating, In Silence as a resident artist in the TMA’s Guest Artist Pavilion Project.

These are Redl’s photos of Matrix II (2000-11), which was included in “Ecstasy: In and About Altered States” at the Museum of Contemporary Art, Los Angeles in 2005. Redl discusses this work — and altered states! — on this week’s program.

Redl was born in Austria, came to the United States on a Fulbright and now lives and works in Bowling Green, Ohio. He’s exhibited throughout the United States and Europe, including at the Wexner Center for the Arts at The Ohio State University, in the Whitney Biennial, at the Museum of Contemporary Art San Diego and at the Chinati Foundation in Marfa, Texas, where he was in residence in 2003. Thorough documentation of Redl’s work is available on his website.

How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast at:

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via RSS.

newyorker

Inspired by our Tech Issue, a slide show of photographs anchored in various technologies, from antiquated processes to Internet crowd-sourcing: http://nyr.kr/18JG1rk

Top: Carlo Van de Roer, “Yoko Okutsu” (2008).

Bottom-Left: Penelope Umbrico, Detail of “54,1795 Suns from Sunsets from Flickr (Partial) 1/26/06” (2006). Courtesy Aperture Foundation and Mark Moore Gallery, Los Angeles.  

Bottom-Right: Trevor Paglen, “Keyhole Improved Crystal from Glacier Point (Optical Reconnaissance Satellite; USA 224)” (2011). Courtesy Metro Pictures.

thegetty

An imaginary city sculpted with the skies of New York, San Francisco and Chicago by artist Peter Wegner. #NowonView In Focus: Architecture at the Getty Center.

Buildings Made of Sky III (details), 2009, Peter Wegner, pigment prints. Gift of Manfred and Hanna Heiting. © Peter Wegner

nycartscene

closes Nov 16: “Absence” Sophie Calle Paula Cooper Gallery, 534 W21st St., NYC The works, an ever-changing project, are inspired by the loss of Calle’s mother Rachel Monique. “Absence recurs in Calle’s oeuvre as a generative drive. These mementi mori demonstrate the artist’s deft weaving of photographic documentation, narrative texts, found imagery and personal iconography. Calle’s efforts to create a space for the deceased are both intimate and universally resonant acts of elegiac composition.” - Patrick Frey Also exhibited are a new series entitled Purloined, which is directly related to works in a concurrent show at the Isabella Stewart Gardner Museum in Boston. Purloined continues Calle’s investigation of a set of thirteen works which were stolen from the Gardner Museum in 1990, and whose allotted wall space was subsequently enshrined with the missing works’ empty frames, following Isabella Gardner’s wishes that the museum’s installation remain exactly as she had originally arranged it.