Campaigning politicians talk solutions; artists talk problems. Politics deals in goals and initiatives; art, or at least interesting art, in a language of doubt and nuance.
--Holland Cotter
Monday, March 31, 2008
Sunday, March 30, 2008
Saturday, March 29, 2008
The attraction of any art fair is that many kinds of art all talk at once, randomly, democratically, in a relatively direct way, unedited by museum curators, magazine editors, international exhibition commissioners or even art critics. Still, it is possible to string together different conversations. One concerns the persistence of painting or paintinglike surfaces, something that few museums seem willing to broach these days. If you want to call this market-driven, fine. Paintings are portable and salable. But, like the novel or the love song, the medium is also wonderfully mutable and susceptible to physical, emotional and symbolic variation.
--My favorite paragraph from Roberta Smith's review of the Armory Fair, where I sure wish I was right now...
--My favorite paragraph from Roberta Smith's review of the Armory Fair, where I sure wish I was right now...
Wednesday, March 26, 2008
Tuesday, March 25, 2008
Sunday, March 23, 2008
Friday, March 21, 2008
Thursday, March 20, 2008
Wednesday, March 19, 2008
Tuesday, March 18, 2008
Monday, March 17, 2008
Sunday, March 16, 2008
Friday, March 14, 2008
California Video at the Getty (click here)
Tuesday, March 11, 2008
"Hard-line believers in art as visual pleasure will have, poor things, a bitter slog. But if the show is heedless of traditional beauty, it is also firm in its faith in artists as thinkers and makers rather than production-line workers meeting market demands."
(My favorite line from Holland Cotter's review of the Whitney Biennial.)
(My favorite line from Holland Cotter's review of the Whitney Biennial.)
Friday, March 07, 2008
Here's the press release:
The 2008 Art Faculty Exhibition features a diverse selection of recent work by 16 Eureka campus art professors. Sculpture professor Shannon Sullivan’s wall-mounted installation features rhythmically fluid ceramic forms imbedded in a ribbon-like matrix of resin. Imagine translucently luminous cellular structures—enormously magnified—spread across the wall and sparkling like stained glass. Cynthia Hooper’s paintings are inspired by the make-shift housing strategies of the fluidly and precariously expanding working class communities of Tijuana, Mexico. The paintings from this particular series explore the phenomenon of using recycled garage doors from tear-downs in San Diego to make sturdy, four-walled Mexican homes for Maquiladora workers.
Painting professor Emily Silver has created a suite of watercolors that map the terrain of Mojave Desert walks she has taken. They are elegant and diagrammatic—observing the desert from an aerial (and highly abstracted) point of view. Emily also affixes the richly-hued Mojave soil she’s collected right onto the surface of her paintings.
Digital art professor Michael Jenner’s photograph of an amusement park’s Tilt-a-Whirl is a thrilling swirl of elliptical motion—luminous, abstracted motion captured by her camera’s delayed exposure. Ceramic professor Mary Mallahan’s Mesolithic Intrusion is—upon initial inspection—a ceramic vase inspired by her interest in geology and the surface textures of rocks. With closer scrutiny, however, the form subtly references the fertility idols of our Paleolithic past. That little sculpture reflexively compels its viewers—with all its mysterious power—to reverently worship it. Don’t get to close, though—you might get pregnant!
The 2008 Art Faculty Exhibition features a diverse selection of recent work by 16 Eureka campus art professors. Sculpture professor Shannon Sullivan’s wall-mounted installation features rhythmically fluid ceramic forms imbedded in a ribbon-like matrix of resin. Imagine translucently luminous cellular structures—enormously magnified—spread across the wall and sparkling like stained glass. Cynthia Hooper’s paintings are inspired by the make-shift housing strategies of the fluidly and precariously expanding working class communities of Tijuana, Mexico. The paintings from this particular series explore the phenomenon of using recycled garage doors from tear-downs in San Diego to make sturdy, four-walled Mexican homes for Maquiladora workers.
Painting professor Emily Silver has created a suite of watercolors that map the terrain of Mojave Desert walks she has taken. They are elegant and diagrammatic—observing the desert from an aerial (and highly abstracted) point of view. Emily also affixes the richly-hued Mojave soil she’s collected right onto the surface of her paintings.
Digital art professor Michael Jenner’s photograph of an amusement park’s Tilt-a-Whirl is a thrilling swirl of elliptical motion—luminous, abstracted motion captured by her camera’s delayed exposure. Ceramic professor Mary Mallahan’s Mesolithic Intrusion is—upon initial inspection—a ceramic vase inspired by her interest in geology and the surface textures of rocks. With closer scrutiny, however, the form subtly references the fertility idols of our Paleolithic past. That little sculpture reflexively compels its viewers—with all its mysterious power—to reverently worship it. Don’t get to close, though—you might get pregnant!
Thursday, March 06, 2008
Wednesday, March 05, 2008
Sunday, March 02, 2008
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