Bigindicator

tagged: minimalism
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In Long-Awaited Museum Survey, Toba Khedoori Drafts Exquisite Solitude

by Emily Nimptsch
It is odd to think that minimalist Toba Khedoori’s solo exhibition, currently on display at the Los Angeles County Museum of Art, is her first major museum presentation in her adopted hometown of Los Angeles, considering that she has been a staple and original voice in the city’s art scene since the early 1990s. This long overdue survey, featuring work spanning 25 years, beautifully highlights Khedoori’s career and intricate draftsmanship. It also delves into a significant theme in her work:... [more]
Posted by Emily Nimptsch on 9/29/16
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At the Guggenheim, Artists Enlist Architecture to Subvert and Expand Histories

by Osman Can Yerebakan
“But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.” Walter Benjamin wrote these words describing Paul Klee’s in his 1940 essay “These on the Philosophy of History.” The storm, he continues, is “what we call progress.” In the Guggenheim Museum’s ongoing group exhibition But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, which opened this spring, progress blows through emblems... [more]
Posted by Osman Can Yerebakan on 8/11/16
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Pointlessness Is the Point: Tony Tasset and His Arrow at Kavi Gupta

by Alison Reilly
—Harry Nilsson At Kavi Gupta’s Elizabeth Street location, Tony Tasset has wallpapered the large warehouse space with 66 arrow paintings. The paintings, which feature pairs of arrows (one pointing up, the other pointing down), create a multicolored mosaic of seemingly endless permutations, each complicating the expanded illusion of flatness and depth. Accompanying the kaleidoscope of flat geometric shapes are two arrow sculptures—shiny, pristine objects, meant to be admired. One sculpture at... [more]
Posted by Alison Reilly on 3/28/16
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The Whiteness of the Whale: Reframing Frank Stella's Long Pursuit of Painting

by Bradley Rubenstein
We cannot begin any assessment of the work of Frank Stella without the obligatory quote that has followed his career for over fifty years. “What you see is what you see” was Stella’s painterly philosophy distilled down to seven words. If there is a definition of Minimalism that is more succinct, it has yet to replace Stella’s as a key to understanding a certain type of particularly American painting in mid-century art history. At the Whitney Museum we have a chance to carefully review Stella’s... [more]
Posted by Bradley Rubenstein on 11/23/15
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Do Words Have Voices: Talking to Martin Boyce's Installations

by Stephanie Cristello
Walking to the Museum Für Gegenwartkunst is, unavoidably and of itself, a romantic passage. Located just off the Rhine River, the experience of water is embedded into the ethos of building—both figuratively and practically within the architecture of the space—as viewable from the glass hallways between the museum’s galleries. The river, a fittingly meandering foil to the small path that leads to Martin Boyce’s current exhibition, offers an experience of aesthetisized nature. Few contexts or... [more]
Posted by Stephanie Cristello on 6/19/15
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Fade into White: Roman Opalka's Infinity

by Sarah Mills
The magnitude of entropy overcomes one who moves along the two floors of Dominique Lévy’s gallery, viewing Roman Opalka’s five-decade quest to render the spectrum of time’s (ir)relevance. Two early series prognosticate the honed laboriousness arriving in the French-born Polish artist’s most renowned final series – ∞ (1965-2011). In this series, comprising 233 paintings in total, 11 shown by the gallery—each titled Détails—Opalka painted a number progression for forty-six years, beginning with... [more]
Posted by Sarah Mills on 9/22/14
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When art explores the fabric of matter. A studio visit with Amalia Del Ponte

by Federico Florian
It happened by chance. About two months ago I heard about the new donation of a work of art to the permanent collection of the Museum of XX Century Art in Milan: the piece was a sculpture by Italian artist Amalia Del Ponte. Her name was totally new to me. Curious, I peeked into her resume—some solo exhibitions in a few Milan galleries, especially in the 70s and the 80s, and the First Prize for Sculpture at the São Paulo Biennale in 1973. How do you feel?, the work acquired by the Museum of XX... [more]
Posted by Federico Florian on 7/28/14
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[VIDEO] Carl Andre: Sculpture as Place, 1958–2010 / Retrospective at Dia Beacon

by Vernissage TV
 at Dia Beacon is the first retrospective to consider the full spectrum of Carl Andre’s art. The exhibition is grouped into three parts: sculpture, poetry, and Carl Andre’s unclassifiable productions, from the enigmatic assemblages known as Dada Forgeries to his wide-ranging ephemera. In this video, Yasmil Raymond (Curator, Dia Art Foundation) provides us with an introduction to the exhibition and Carl Andre’s work. Carl Andre: Sculpture as Place, 1958–2010 at Dia Art Foundation in Beacon... [more]
Posted by Vernissage TV on 5/22/14
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Bold Gestures of Anti-Painting

by Daniel Barnes
The paintings of David Ostrowski present us with a world almost entirely drained of colour, figuration and matter – and yet they are utterly beguiling. There is something about the stark minimalism and ambiguity of these paintings which we would rather deny but simply cannot resist. The press release for this exhibition takes the form of a question and answer session between Ostrowski and Harmony Korine. Although seeming to provide precious little information about the work, it sets the scene... [more]
Posted by Daniel Barnes on 12/22/13
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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