INHALE MAG » NY

Gabriel Orozco at Marian Goodman

admin — Mon, 09 Jun 2014 15:10:50 +0000

The exhibition continues Orozco’s investigation into intersections, mobility, rotation and dispersion. The new works maintain an elegant balance between geometry and the organic, the intentional and the accidental.

In the North Gallery is a new installation titled Inner Cuts, 2014. The installation recombines boomerangs with the scraps of raw wood from which they were carved. The shapes float and hover in the space as if the act of throwing a boomerang has been caught in stages and suspended onto the walls, moving the viewer’s eye and body in a circle around the room. The open, airiness of the gallery is reminiscent of the open field in Bucks County, Pennsylvania where Orozco practices throwing his ever-expanding collection of boomerangs. When considered, the sport makes perfect sense within the terms of his work. A boomerang itself is a curved surface, and when successfully thrown the object cuts through the air in the shape of a broad circle. Orozco recently began designing his own boomerangs, experimenting with the creation of wooden prototypes. Inner Cuts focuses on the leftovers of this process, the shapes organically and accidentally formed from the negative space in the wood.

photo mariangoodman.com

In the North Viewing Room Orozco arranges various objects on display alongside a painting from his new Satellite series. The paintings are created using a slow technical process that employs a machine to spray oil onto the canvas. The process has a blurring effect on the original image of the earth. In the center of the room is a vitrine containing an ashtray Orozco found at a flea market long ago. The ashtray is rounded and displays a map of the earth laid onto a grid pattern. The name of a former owner is etched into the side and the object displays the evidence and traces of many years of use. Within the ashtray Orozco placed a small commemorative replica of Sputnik, the first satellite ever to be launched successfully into space in 1957. The Soviet satellite ushered in many changes and circled the earth for three months before falling from space.

photo flat-surface.com

The post Gabriel Orozco at Marian Goodman appeared first on INHALE MAG.

KEN PRICE AT MATTHEW MARKS GALLERY

admin — Mon, 26 May 2014 14:17:14 +0000

Famous for his diminutive sculptures, often small enough to hold in one’s hands, Ken Price was long interested in making larger works. As early as 1967 he made drawings of over-life-size sculptures set in imaginary landscapes. It was not until 2006, however, that he exhibited his first large work, the seven-foot-tall Bulgolgi. By 2009 he had finished three more large sculptures, and he completed five additional large sculptures before his untimely death in 2012.

Spider Blue
2011
photo matthewmarks.com

Ordell
2011
photo matthewmarks.com

For over fifty years Price was a constantly inventive artist, continually changing the forms, surfaces, colors, and shapes of his sculptures. The bulbous forms of the last large sculptures, made at the end of his life, are sanded to a smooth perfection and then lacquered in iridescent colors that augment their seductive power. Alex Kitnick writes in his catalogue essay, “Price’s work shape shifts; it morphs. It always seems on the verge of turning into something else, of letting go, of relaxing or skirting across the floor. A contour of his could suggest almost anything.”

Simple-istic
2009
photo matthewmarks.com

Ceejay
2011
photo matthewmarks.com

Yogi
2011
photo matthewmarks.com

via matthewmarks.com

The post KEN PRICE AT MATTHEW MARKS GALLERY appeared first on INHALE MAG.

TERESITA FERNANDEZ AT MASS MoCA

admin — Sat, 24 May 2014 13:24:19 +0000

Teresita Fernández: As Above So Below

On view beginning May 24, 2014

Demonstrating the artist’s remarkable ability to transform materials and their surrounding architecture into an enveloping perceptual experience, Teresita Fernández: As Above So Below combines graphite and gold to create a series of immersive, interconnected installations whose scale shifts from intimate to vast, from miniature to panoramic. Fernández’s largest solo exhibition to date, As Above So Below is made up entirely of new works.

Describing a universe in balance, the phrase “as above, so below” originates from the ancient Hermetic tradition central to alchemy, in which every action occurring on one level of reality (physical, emotional, or mental) correlates to every other. Responding to MASS MoCA’s massive and light-filled first-floor galleries, Fernández’s trio of new landscape-informed, large-scale installations embodies this expression, and is united through the show’s elaborately detailed exploration of two essential minerals.

photo massmoca.org

photo benningtonbanner.com

photo lehmannmaupin.com

photo 1stdibs.com

In MASS MoCA’s triple-height gallery, occupying more than half of the 128’ x 29’ space, an installation titled Black Sun, 2014, evokes an amplified, glowing, cloud cover when viewed from underneath. When observed from overlooking mezzanine balconies, the same elements become vast topographical landscapes. Slowly gradating in color from amber to solid black, and composed of thousands of translucent tubes suspended from the ceiling, Black Suncreates a series of overlapping atmospheric planes; the entire work changes in an instant with the shifting natural light, and at times appears a slowly moving cinematic dissolve.

via massmoca.org

The post TERESITA FERNANDEZ AT MASS MoCA appeared first on INHALE MAG.

Do Ho Suh Drawings at Lehmann Maupin

admin — Sat, 03 May 2014 09:02:11 +0000

Lehmann Maupin is pleased to present Drawings, an exhibition of new works by renowned Korean artist Do Ho Suh. On display at both 540 West 26th Street and 201 Chrystie Street, the exhibition will highlight the significant role and varied forms drawing plays in Suh’s oeuvre. This two-part show will feature the range of his works on paper, including drawings using pencil, pen, ink, and watercolor, his unique “thread” drawings, as well as his large-scale rubbings. The artist will be present for an opening reception on Thursday, September 11 from 6-8PM, and at a book launch on Saturday, September 13 at 540 West 26th Street from 4-6PM.

photo lehmannmaupin.com

Primarily known for his room-scale installations made of transparent fabric that recreate spaces in which he has lived, the artist has consistently utilized drawing throughout his career to explore and develop relationships between common themes of his practice including notions of home, physical space, displacement, identity, and memory. A focus of this exhibition, and Suh’s most elaborate use of drawing to date, is his Rubbing/Loving Project. Here Suh painstakingly covered the flat walls and three-dimensional fixtures of the interior and exterior of architectural spaces that hold great personal, cultural, or historic significance to him with vellum and rubbed each surface with colored pencil or graphite. These rubbings create imprints of the spaces, uncovering a particular location’s history, memories, and traces of its use.

photo artobserved.com

via lehmannmaupin.com

The post Do Ho Suh Drawings at Lehmann Maupin appeared first on INHALE MAG.

Christopher Williams At MoMA

admin — Wed, 16 Apr 2014 08:57:19 +0000

Now at the Museum of Modern Art through November 2nd, 2014, Christopher Williams: The Production Line of Happiness serves as a comprehensive overview of the 35-year-long career of the influential artist. Part of the first wave of West Coast Conceptual artists, Christopher Williams graduated from the California Institute of the Arts and went on to become a preeminent conceptual artist and art professor at the Kunstakademie Düsseldorf. His artistic legacy has fervently pursued notions of commercialism, production, capitalism, and process, and the execution of this retrospective very clearly outlines those themes.

photo artobserved.com

Throughout, Williams flows smoothly through ideas of the object and its nature, subverting curatorial signifiers while creating a museum experience that is simultaneously invigorating and jarring. The images on the walls are hung noticeably lower than is customary, and images often repeat themselves, as though the directions for hanging the show had somehow been scrambled. One wall is constructed of cinderblocks, and boasts only one image, while another is boldly interrupted by a line of blue paint, while a photograph hangs directly over the streak. There is also a series of appropriated imagery of John F. Kennedy that seemingly exists in world all its own.

photo artobserved.com

via artobserved.com

The post Christopher Williams At MoMA appeared first on INHALE MAG.