Bigindicator

tagged: light
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Stretching across a city and climbing into the sky

by Nicole Rodríguez Woods
“Our sky was destroyed during World War II,” creaks a white-bearded eighty-six-year-old Otto Piene from in front of the lens of a video created on the occasion of his Berlin multi-sited exhibition . He explains his lasting impression with the light phenomena that would permeate his art practice for upwards of six decades, his desire to establish a new launching point for his practice, for the role of art to act as rebuilder. In conjunction, the Neue Nationalgalerie and the Deutsche Bank... [more]
Posted by Nicole Rodríguez Woods on 8/7/14
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Funhouse Fascination

by John Gayer
Highlighting his win of this year’s Ars Fennica prize, Jeppe Hein’s also forms the celebrated artist’s first solo exhibition in Finland. The choice was made by Akiko Miki, Senior Curator at the Palais de Tokyo in Paris. Her decision was informed by the way his work affects behavior and engages perception. Thus, it makes perfect sense that the exhibition presents an elucidating overview of his output ranging from his use of reflective materials, geometric shapes, repetitive actions, text,... [more]
Posted by John Gayer on 12/6/13
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The perfect shudder of spectral light upon a terrible beauty.

by Andrew Berardini
Words like get trotted out by acid amateurs at every flickering bulb and swirl of color. Real psychedelic experiences are punishing in their power: a nauseating kaleidoscope; a universe decentered and dismantled; still things gyrate and dancers stay still in a blurry wash of purest energy; atoms are split inside your skull and come bursting through glassy eyes; other humans dissolve into electric atmospheres and social mores collapse into mere theater. Henri-Georges Clouzot's L'Enfer is... [more]
Posted by Andrew Berardini on 10/31/13
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Playing with Gray Matter

by Nicola Bozzi
Conceived as half of a two-exhibition series titled , Lotte Geeven's solo show at PAKT plays with the viewer’s perception, right off the bat. The most striking installation in the Zeeburg gallery is a series of stripes, ranging from black to white, which turn the banal chromatic shift of the venue's floor that occurs over the course of the day into something visible and discrete. Another work, this one sound-based, plays noises recorded by the artist during her visit to a 9.101 meter-deep hole... [more]
Posted by Nicola Bozzi on 10/9/13
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Excite the right electron and it'll glow.

by Andrew Berardini
A single splash in an ocean of invisible waves, the spectrum of visible light hints just enough radiance to tease the rest. Outside our paltry paintbox of chroma hide rays gamma and long, thermal and micro, radar and TV, radio both AM and FM depending on the shimmy of the music or the monotone of the talk. All this invisible radiance penetrates buildings and molecules, tables and oil tankers, you and me, vibrating the air with ghostly resonance.   Infrared just above and ultraviolet just... [more]
Posted by Andrew Berardini on 9/28/13
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“Casual Stripes and Warm Layers”

by Ryan Wong
Among rising gallery rents and the endless expansion of larger cultural institutions in New York, micro-spaces like ArtBridge’s Drawing Room offer a respite. , curated by Jordana Zeldin, is a bite-sized summer exhibition that explores a wing of New Casualism. The smallness of the space – it was once a closet – is suited to the works on display: they are approachable objects, and converse comfortably with each other. Casualists tend towards the jokey and intentionally timid, but the three... [more]
Posted by Ryan Wong on 8/6/13
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Tearing Shadows: An Interview with Robert Seidel

by Melissa King
Enter the void. Decipher dark from light, temporal from physical, motion from stasis. Robert Seidel’s recent installation at 401contemporary encompassed video projection, sound, and solid-state artwork in an absorbing ode to the outer reaches of consciousness. Most certainly, the cinematic elements of Seidel’s enchanting projection sculpture necessitate pervasive blackness, but this is to ignore the material component of the work, the variegated contours and curves that remain invisible when... [more]
Posted by Melissa King on 6/30/13
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Catlin 2013: Philippa Snow & Charlotte Jansen

by ArtSlant Team
Charlotte Jansen: Good to see you the other night at the Catlin Prize. And those pointy jazzy shoes of yours... have a good time? Philippa Snow: Those jazzy shoes were an absolute nightmare; half a size too small, and the tip came off the heel when I - very sensibly - went straight home after the prize (by which I mean: "went for whiskey sours in a dark bar"). CJ: Talking of dark rooms; I meant to ask you what you were doing crouching down on the floor there when I got in? PS: I was trying... [more]
Posted by ArtSlant Team on 6/7/13
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Space-Time

by Andrew Berardini
I've always wanted to make a light that looks like the light you see in your dream. —James Turrell, excerpted from James Turrell: A Retrospective   Art is always stumbling into someone else's dream. At LACMA, be warned of lines and guards; turns out someone else's dream forces you to book a place months in advance, pay $45, sign a waiver to lab-coated girls in exchange for ten or so minutes with flickering lights. Just one of a dozen logistical hiccups. The precision of other... [more]
Posted by Andrew Berardini on 6/4/13
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A Landscape After the Storm

by Arely Villegas
John Coplans’ essay, “Pasadena’s Collapse and the Simon Takeover: Diary of Disaster” written for in 1975, unravels the mirages and problems that the Pasadena Art Museum faced before being essentially purchased by ketchup mogul Norton Simon. Architects Lad + Kelsey's plan rode over the balance of architecture and beneficial exhibition space for their own design vision. The new building and location opened in late 1969 with a chaotic flurry of anticipation from the staff and artists, a... [more]
Posted by Arely Villegas on 5/19/13