an exploration of both the aesthetic qualities of totemic sculpture, as well as the symbolic, narrative, and trans-cultural borrowing of indigenous motifs endemic to much current art and culture. With a combination of sculpture, painting, and works on paper, the exhibition finds traces of a notion of totem whether in material or narrative choices, in works by seven artists from diverse origins. Jeffrey Gibson draws on his Native American heritage, and confounds the conventions of strict identity politics by combining it with Modernist abstraction, while Matthew Craven jumps across nations and cultures, disrupting strictly “authentic” narrative implications. Trish Tillman investigates her newly-discovered Native-American heritage for its suggested personal mythology, and conflates it with her pre-existing interest in the shamanistic rituals of everyday life. Melanie Daniel and Nancy Azara explore the narrative power and traditional totem’s use of figurative and animal parts, as symbolic, repetitive, and non-mimetic strategies. Amy Brener and Emily Noelle Lambert create towering, stacked forms in freshly distinctive approaches and materials.
exhibition of painting and sculpture features a large sculptural work, a snowglobe containing a moving scale model of a pumpjack encased in oil and swirling “snow” comprised of gold-colored flakes, a reflection of the immense wealth generated by the oil trade. Characteristic of Hod’s work is a dark glamour that is both alluring and menacing, exemplified in his three new series of paintings. In I Want Always to be Remembered in Your Heart, smoldering flames are superimposed on delicate flowers, alluding to the paradoxical coexistence of beauty and destruction. - thru Oct 25
Presents two new large-scale sculptures comprised from index cards and acrylic rods, respectively. With these works, the artist continues to explore the phenomenological effect of work created through the accumulation of identical objects. Untitled (index cards), the first such work created by Donovan, is a 13’ x 25’ x 30’ sculpture in eight parts comprised of several million 3x5” white cards stacked and glued into scores of interweaving columnar forms combining to reach a summit on each element. Also featured is a newly completed untitled sculpture made with thousands of acrylic rods. Donovan spends months or even years searching for a method of assembly that allows the simple and immutable characteristics of the chosen material to generate complex, emergent phenomena which keep the viewer cycling between perception of the parts and the whole between the forms themselves and the light that surrounds and divides them. The work draws on both Minimalist and formalist histories, while creating a radically new form which embraces complexity and iterative processing.
McGee’s work critiques consumerist culture and the constant backdrop of commercialism in everyday interactions; rejecting the billboard and chain store, McGee instead finds inspiration in the seeming randomness of graffiti, the endless uploading of images on the internet, and the creative styling of misfits. McGee’s work succeeds in its sensitive balance between anarchy and collaboration, resulting in environments which immerse the viewer in his singular, yet inclusive, vision.
Hiroshi Sugimoto: A recent review from The Wall Street Journalfeatures Hiroshi Sugimoto's solo exhibition at Pace: “Mr. Sugimoto (b. Tokyo, 1948) is a master of technique: The pictures taken with a large-format view camera are rich in detail and the prints are luxurious in their tonal range.”
Hiroshi Sugimoto: Still Life, an exhibition of never-before-seen photographs of dioramas taken at the American Museum of Natural History, is on view at 510 West 25th Street, New York, through June 28.