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I recently attended the talk Supporting Structures: The use of plinths and platforms in Carol Bove’s work at the Henry Moore Institute. Kitty Anderson’s talk coincided with the Carol Bove / Carlo Scarpa exhibition in the Institute’s main gallery spaces.
Installation view of the Carol Bove / Carlo Scarpa exhibition at the Henry Moore Institute, Gallery 1. Photo via blog Books & Boots (image source)
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Researching the definition/concept of a construct (in science, in philosophy, in art) and came across a listing for On new constructs in art by Ernest Edmonds in the publications section of the compArt | center of excellence digital art database. Need to take a closer look at this database, they’re currently drawing attention to the early phase of digital art (roughly 1950 to 1980).
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Surfing w/ coffee. Order of exploration:
A
Google image search “knyttan blanket scarves” → Today and Tomorrow post about a scarf (↓B) → Nicolas Sassoon (↓C) → Computers Club → Alexandria McCrosky → Alexandria McCrosky in i want you magazine (↓D) → Google image search Alexandria McCrosky
B
Emoji Portraits by Yung Jake on Today and Tomorrow
C
artnet interview w/ Sassoon → Opening Times – Digital Art Comissions (↓E) → How Do We Write When We Write Online by Orit Gat → Gat’s review of The People’s Platform, “Was the internet intended for you?” (↓F) → The People’s Platform: Taking Back Power and Culture in the Digital Age by Astra Taylor
D
Jordan Tate → Trevor Paglen exhibition at Altman Siegel → Trevor Paglen → Jacob Appelbaum (@ioerror)
E
“You Alright” by Nicholas O’Brien → “In The Hollow of the Valley” by Nicholas O’Brien → NewHive
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Photo of multimedia artist Joan Jonas by Sebastian Kim for Interview Magazine (image source)
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Guardian review of the Sonia Delaunay exhibition at Tate Modern
Surprised/embarrassed to say I had never heard of Sonia Delaunay or her work before this Guardian review. Looks impressive. The EY exhibition: Sonia Delaunay is on at Tate Modern 15 April – 9 August 2015.
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One question is, how do you create a way of being in the world that allows new things (ideas, information, people, places) into your life without letting everything in?
Carol Bove’s work is currently part of the Carol Bove / Carlo Scarpa exhibition at the Henry Moore Institute. Sam pointed out a recent tweet from the Institute sharing the article linked above, v. glad to come across it and that Artspace was able to publish the extract in full.
Hope to get my hands on this book. In the meantime, see further extracts from AKADEMIE X on Artspace (links at bottom of Bove’s excerpt).
Incidentally, the exhibition is excellent, revisit it when it’s not quite as busy.
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Musician from Tennessee, see article in California Sunday; she works with Max on a lot of her projects.
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I wasn’t familiar with Roger Ackling’s sunlight-on-wood work until Sam showed me the Kickstarter page for the new Occasional Papers book “Roger Ackling: Between the Lines”. Hope to visit the upcoming exhibition of his final work at Annely Juda Fine Art.
Update 27/3/15 – See also Five Sunsets in One Hour from 1978.
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Decline and Fall from the Arts Council Collection (image source)
Glenn Brown
Decline and Fall, 1995
Oil and canvas on board
58.4 × 54.6cm
Decline and Fall by Glenn Brown is currently on display in the One Day, Something Happens: Paintings of People exhibition at Leeds Art Gallery. The smooth surface of the painting is astounding and incredibly confusing up close, the image above just doesn’t do it justice.
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Katie Hayward
Pillars II, 2014
Plastic and industrial fans
Dimensions variable
Took the train to Liverpool recently for the Adrian Henry: Total Artist book launch (published by Occasional Papers, buy it here), and tried to cram in the entire Liverpool Biennial in that one day.
The piece above is part of the 2014 Bloomberg New Contemporaries exhibition in the World Museum and was probably one of my favourite works in the show. Details below the photo (taken on my phone, doesn’t do her piece justice). I don’t think the artist has a personal website just yet, but there’s a bit of information about her here and here.
There was a separate, very loud installation in this part of the exhibition that, IMO, was unfortunately presented. I don’t mind loud sound installations, but the positioning didn’t seem carefully considered in this instance. Sound travels far and fast in those cuboid, hard-surfaced rooms.