Berlin’s Jewish Museum has been given an immersive light work by James Turrell from his “Ganzfeld” series. The US artist’s blue-hued Aural is an iconic walk-in installation that completely submerges the viewer in a light field. It was donated to the institution by the German collectors Dieter and Si Rosenkranz.
Iconic American artist James Turrell is donating one of his immersive light installations to the Jewish Museum in Berlin. Featured in his “Ganzfeld” series, Turrell’s blue-colored Aural installation will allow museum-goers to be completely inundated with sprawling fields of light.
One buyer, Thomas Yamamoto, even hopped a flight from Shanghai to New York early to peep a painting in person that he’d bought after seeing just a photo of it. The work in question is a fetching white monochrome from 2011 by Mary Corse, a foundational figure in the male-dominated Light and Space movement started in 1960s Los Angeles.
Despite coinciding with the London auctions, TEFAF Maastricht, and a snow storm, the 24th edition of The Armory Show still proved a success for many dealers, highlighting the continued importance of American collectors in the art market.
Corse treats light as a subject and material of her paintings, activating them by using refractive glass microspheres that are common in highway paint. The Whitney Museum of American Art in New York will stage Corse’s first solo museum survey in June. The artist’s paintings from the 1960s to the present will be on display starting in May at Dia Art Foundation in Beacon, New York.
Mary Corse’s works with glittering highway paint at Kayne Griffin Corcoran (502), a run-up to shows at Dia:Beacon and at the Whitney Museum of American Art
A sense of heaviness was immediately palpable in Takayama’s show at Kayne Griffin Corcoran. Upon entrance into the expansive, light-filled modern gallery, one was confronted by Untitled (2018), one of the exhibition’s two enormous sculptures. The work is among the largest in Takayama’s oeuvre. More than 100 railroad ties were painted black and assembled in the center of the room, commandeering the entire space.
The exquisitely designed Kayne Griffin Corcoran gallery is worth a visit for its setting alone, with the exterior walls lushly festooned with ivy. Artists shown here include big-hitters like James Turrell, Beverly Pepper and Mary Corse, along with superstar creatives such as film and television auteur David Lynch. kaynegriffincorcoran.com
“My initial impression was one of suspended belief because I had no point of reference for what I saw. The scene from the ship felt like a backdrop for a movie or theater,” she says. Only on further inspection, when Ryan boarded a kayak and actually entered into the landscape, did the utterly foreign scene begin to make sense. “It’s almost like you have to touch it to believe it’s real,” she says.
The Hammer Museum announced the artist lineup for its “Made in L.A. 2018” on Tuesday, and the key word for the museum’s fourth biennial is “responsive,” curators Anne Ellegood and Erin Christovale said.
“Drawn Into Form: Sixty Years of Drawings and Prints by Beverly Pepper” showcases 70 of the over 900 unseen works from Pepper’s collection.
Spanning seven decades of work, this extraordinary gift from Pepper, one of the pioneering Contemporary sculptors, includes hundreds of drawings, prints, works on paper and notebooks – many containing sketches of her major sculptural endeavors. This exhibition runs through April 19, 2018.
Rosha has been using color therapy glasses for years now. I tried on a pair and while they may or may not alter a mood, they certainly transform the view, making common sights seem more apparent and extraordinary.
Flying in the face of contemporary tendencies toward cool cynicism and overproduction, Dara Friedman offers a compact but dense oeuvre that crackles with intensity. Above all, there is an undercurrent of openness and earnestness, a radical sort of emotional availability,” writes René Morales, the curator of Friedman’s first comprehensive retrospective at Pérez Art Museum Miami.
Jutting out into the Derwent, Pharos has something of a secret chamber about it. You enter at the back of Mona’s current exhibition, the Museum of Everything, through a black cloth. And there it is, a corridor and column of light. This is the first of the Turrell works, titled Beside Myself.
Los Angeles was recently crowned as the artist capital of the world—boasting more working artists than even New York!—and it has the gallery scene to match. From your heavy-hitter white cube venues to grungy underground artist-run spaces, the city has it all.
“Mary’s work eschews easy categorization,” says Alexis Lowry, an associate curator at Dia. “As early as 1966, she was making light-based work that was as advanced as anything by more recognizable figures like Doug Wheeler or James Turrell. But she was also radically different, using paint to harness light and make space within her paintings that extends beyond the physical.”
In conjunction with the exhibition Dara Friedman: Perfect Stranger, PAMM presents a special screening of Friedman's short film Ishmael and the Well of Ancient Mysteries (2014), which will be shown continuously throughout the day in the museum's auditorium.
For years, artist Liza Ryan has carried a camera with her wherever she goes, taking photographs all over her adopted hometown of Los Angeles. But two years ago, when she travelled by sea to Antarctica to celebrate her 50th birthday, fulfilling a life-long dream, she was stymied, unable to shoot. “I felt almost trapped,” she says, overwhelmed by the monumental gap between her own small figure and the frozen, otherworldly, glacial landscape.
A stone’s throw from the sensory overload of Elvis-themed wedding chapels and mega-shows on the Vegas Strip (not to mention such special pleasures as swim-up blackjack), hides an appointment-only James Turrell installation titled Akhob. Occupying the entire top floor of the Louis Vuitton Maison City Center, this permanent work—something of an ocular spa—holds no more than six people at a time and operates on a 25-minute cycle.
There’s a lovely juxtaposition in the way we view and absorb the 16 videos and films in Dara Friedman’s mid-career retrospective currently at Pérez Art Museum Miami. While much of what is projected on screen are compositions of bodies in motion — free-style dancing, singing, performing — an unmistakable precision and attention to detail become part of the visual experience when moving through the galleries of “Dara Friedman: Perfect Stranger.”
Frederik Meijer Gardens & Sculpture Park in western Michigan is preparing to open an exhibition of sculptor Beverly Pepper’s print and drawing archives. “Drawn Into Form: Sixty Years of Drawings and Prints by Beverly Pepper ” will be on display for a few months starting Feb. 2 at the Grand Rapids attraction.
Mark Handforth is another Miami-based artist we’ve commissioned, and I’ve known him forever. His outdoor sculpture, a star twisted out of an illuminated street-light pole, will be on long-term view."
The exclusive exhibition is the first public showing of the gift of Pepper’s expansive print and drawing archives that was given to Meijer Gardens in 2016 and 2017. The collection spans seven decades of work and includes hundreds of drawings, prints, works on paper and notebooks – many containing sketches of her major sculptural endeavors.
Dara Friedman’s three-channel video installation Mother Drum(2016) is projected onto a single wall in Gallery 5 in a continuous loop that interweaves footage of individual dancers, groups of drummers, and animals.
The Aspen exhibition follows the opening of "Dara Friedman: Perfect Stranger" last month at the Perez Art Museum Miami, which marked the first career survey of the German-born, Miami-based video artist's career. It drew national attention from the art world and included "Mother Drum" along with works dating back to 1991.
The first solo museum survey of distinguished Californian artist Mary Corse is featuring at the Whitney Museum, as it announces its “New Exhibitions on the Horizon for 2018”. The show opens in New York next year and will explore the expansive and unique works that Corse has created throughout her career.
The German-born, Miami-based artist Dara Friedman, whose first mid-career survey, Perfect Stranger, is on now at the Pérez Art Museum Miami (until 4 March), combines painstaking production methods with the raw heat of emotion in her works.
The point of departure of Art and Space is the collaboration between Basque sculptor Eduardo Chillida and German philosopher Martin Heidegger in 1969, which resulted in the publication of an artist book whose title inspired that of this exhibition.
Over the past decade, Dara Friedman has asked large casts of participants to respond to simple ideas or thoughts, eliciting, in turn, raw emotion and chance developments within controlled situations. On the occasion of her survey at the Pérez Art Museum Miami, the artist talks about her newest work, Dichter (Poet), 2017, a four-channel video portraying sixteen people reciting their favorite poems.
Next month, an extension to our gallery, called Pharos, will open, housing four new works by James Turrell, as well as works by Jean Tinguely, Charles Ross, Richard Wilson and Randy Polumbo. Read more about Pharos here.
Torn between a powerful cultural heritage and a national discourse on modernization, alternating between phases of openness and withdrawal, the cultural evolution of Japan in the early 1970s was marked by major social, political and natural events. Exhibition curator Yuko Hasegawa looks back on these turbulent decades during which Japan oscillated between globalisation and affirmation of its identity.
There are also a number of significant new commissions in the ICA’s ground floor gallery and surrounding sculpture garden, including a new installation of paintings by Chris Ofili, a large scale sculpture including a defunct crane by Puerto Rico-based duo Allora and Calzadilla and a bent telephone pole-star by local Miami artist Mark Handforth.
Jennifer S. Li reviews "Jean-Pascal Flavien & Mika Tajima" in the December 2016 issue of Art Asia Pacific