Bigindicator

tagged: Aqua Art Miami
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Chicken Scratching the Surface: Bryan Volta

by James Pepper Kelly
Bryan Volta works hard to undermine the body. His primary tool for getting the job done is a hydraulic breaker attachment, the type construction crews use to quickly demolish large stretches of concrete. Volta’s life-size model, unlike the version available from Caterpillar, is entirely plastic, from the extended shaft back to the industrial-scale bolts. Also, spectacularly, it is covered in chicken feet. The resin-based obtrusions flail out in all directions, curled and splayed. Volta’s tool... [more]
Posted by James Pepper Kelly on 12/2/15
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Insecurity Over Permanence: Tina Tahir

by Stephanie Cristello
       –Michel Foucault While the invention of the garden was a product of the Orient, its form is now widely replicated, adapted, and distributed across cultures. The forms it takes can be beautiful, or benign—from Japanese karesansui and perfectly manicured English courts to sterile pre-fabricated suburban lots, with conventional evergreens growing against cement paths. The first carpet was invented in an attempt to recreate the garden. In its earliest iterations, the rug transposed the... [more]
Posted by Stephanie Cristello on 12/2/15
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Glory and the Complex Body: Theresa Ganz

by Zachary Cahill
What happens to the figure-ground relation in the absence of a figure? Or if it lacks a representation of a body? Can a body be represented sans figure? Is there more than one way to formulate a body and depict it in a less iconic modality? Which is to say, can the body in all its complexity be represented at all, let alone be set against a “ground”? The work of Theresa Ganz answers these questions in the affirmative. Hers is an art practice that deals with the complex body. Which might be... [more]
Posted by Zachary Cahill on 12/2/15
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Adam Douglas Thompson: Dialogical Particulars

by Joel Kuennen
—Mikhail Bakhtin, Discourse in the Novel, 1941   Adam Douglas Thompson’s drawings are words. His installed formations are sentences. His words, however, are not defined. His sentences are not linear. They are dialogic imaginations, each image acts a concept which through their relational grouping gains meaning. The groupings can and should be read multidirectionally. This approach is how Thompson believes thought works, a concept trailed by consciousness that couples with nearby conceptual... [more]
Posted by Joel Kuennen on 12/5/14
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A Play on Material: Oren Pinhassi

by Joel Kuennen
Postmodernism is failing. History is a spiral.   These three assumptions underlie Oren Pinhassi’s work. Beginning with the familiar—towels, a backpack, a dwelling—objects are transformed through the addition of another common material, plaster. Through this addition, he transubstantiates the everyday into thematic sculptural and architectural forms, an act that Pinhassi describes as transcendent. There is a key definition being explored through Pinhassi’s work: transformation vs.... [more]
Posted by Joel Kuennen on 12/5/14
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Anastasia Samoylova: On Facebook Everyone Is on Holiday

by Caroline Picard
Anastasia Samoylova does not go out into summer fields when she begins a new work of landscape photography. She goes online, haunting public domain photosites for images of picturesque landscapes: sunsets, waterfalls, forests, oceans, and flowers. Despite the seductive vistas each calendar image portrays, they are so common they become redundant. “I’m almost monumentalizing them in my installations,” Samoylova said during a recent (Skyped) studio visit, “otherwise they would just be these... [more]
Posted by Caroline Picard on 12/4/14
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Edra Soto: Selling a Fantasy

by Stephanie Cristello
Luxury is so often determined by a price tag. But commerce is rarely how we interact with the phenomena of high-end merchandise—its excessiveness, its indulgence; its extravagance is almost always (and exclusively) experienced visually. We feel the texture of opulent velvets and silks first with our eyes, the metallic gleam of a smooth reflection through its cool touch on our sight, in jewels that refract their prismatic color back onto our gaze. There is something intensely tactile in the... [more]
Posted by Stephanie Cristello on 12/4/14