Tuesday, September 25, 2012
Monday, September 24, 2012
Wednesday, September 19, 2012
Saturday, September 8, 2012
Wednesday, September 5, 2012
Issue No 221: Contemporary Examinations of Drawing
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| Bruce Nauman, Walking in an Exaggerated Manner around the Perimeter of a Square, 1967–68. 16mm film on video, 10 minutes. Courtesy of the artist and Electronic Arts Intermix (EAI), New York. |
On view in SMFA's Barbara and Steven Grossman Gallery, the exhibition features video, installation, sculpture, performance and multiple forms of wall drawing by international artists Adel Abdessemed (Sphère 1m69), Ann Carlson + Mary Ellen Strom (Four Parallel Lines), Carlos Cruz-Diez (Physichromie 2385), Gego (Untitled (Bicho)), Felix Gonzalez-Torres ("Untitled"), Sol LeWitt (Wall Drawing #118), Bruce Nauman (Walking in an Exaggerated Manner around the Perimeter of a Square), Fred Sandback (Untitled) and Lawrence Weiner (WITHIN A REALM OF RELATIVE FORM).
"This exhibition concerns itself with drawing as much as with drawing connections, marked by modern and contemporary examinations—and expansions—of form," says Evan J. Garza, SMFA Exhibitions and Public Programs Coordinator and curator of the exhibition. "It is incredibly exciting to connect distant points in the history of the School in this way, especially through the influential work of Sol LeWitt, which will be explored further in the 2012 Beckwith Lecture with LeWitt scholar Veronica Roberts."
The entire exhibition will be on view September 13–November 3, and the general public is welcome to view the installation process of Wall Drawing #118 September 13–19, which will be executed by a LeWitt drafter and SMFA students. A reception on September 20 from 6–8pm will celebrate the work's completion.
Related events
Wednesday, September 19, 6pm
SMFA Beckwith Lecture "Boston's First Sol LeWitt Wall Drawing"
Veronica Roberts, Director of Research, Sol LeWitt Wall Drawing Catalogue Raisonné and Adjunct Associate Curator of Contemporary Art at the Indianapolis Museum of Art will discuss the challenges and rewards of researching LeWitt's unique body of conceptual art, highlighting the special importance he attached to his collaborations with art students around the world.
Alfond Auditorium, Museum of Fine Arts, Boston
Thursday, September 20, 6–8 pm
Reception celebrating the completion of Wall Drawing #118
Barbara and Steven Grossman Gallery, SMFA
For more information, visit www.smfa.edu/something-along-those-lines.
About the School of the Museum of Fine Arts, Boston:
Founded in 1876 and accredited by the National Association of Schools of Art and Design, the School of the Museum of Fine Arts, Boston, is one of only three art schools in the country affiliated with a major museum—the Museum of Fine Arts, Boston. Our mission is to provide an education in the fine arts—for undergraduate and graduate artists—that is interdisciplinary and self-directed. This education values cultural, artistic and intellectual diversity; it embraces a wide range of media; it stresses the development of individual vision and its relation to culture in general; it values equally the knowledge gained by thinking and doing; it is deeply engaged with the world as a whole. If the mission is constant, its practice is always transforming.
Monday, September 3, 2012
Issue No. 220: 50 Years of the Art of Soup
I think I read that the Warhol Foundation in partnership with Campbell's Soup made something like 1.2 million of the four commemorative cans pictured below for sale at Target at $.75 per can starting yesterday (2 September). The LA Times and several bloggers predicted that all stores would sell out within "15 minutes". They didn't. But, last night I did notice that about a dozen Ebay sellers had
already listed sets of the four tomato soup cans with starting bids of as much as $24. I decided that purchasing a surplus of soup cans and squirreling them away might prove lucrative on a rainy day in a decade or so. If not, they'll make nice gifts.
This morning, I schlepped over to Target, filled my cart with sixteen Warhol cans and, upon checking out, discovered that Link would not cover my purchase. What does this mean? On a personal level, I guess that when you buy this special soup, you are getting the actual soup for free. What I paid for are the fancy labels; the paper. In terms of the big picture, why won't the government make a little donation of $675,000 to the Warhol Foundation (a non-for-profit that promotes the visual arts)? I'll investigate this more later.
Erik R. Peterson
This morning, I schlepped over to Target, filled my cart with sixteen Warhol cans and, upon checking out, discovered that Link would not cover my purchase. What does this mean? On a personal level, I guess that when you buy this special soup, you are getting the actual soup for free. What I paid for are the fancy labels; the paper. In terms of the big picture, why won't the government make a little donation of $675,000 to the Warhol Foundation (a non-for-profit that promotes the visual arts)? I'll investigate this more later.
Erik R. Peterson
Issue No. 219: John Neff
John Neff September 5 – October 28, 2012
Reception: Wednesday, September 5, 6 – 9pm New York
Golden Gallery is proud to present an exhibition of new photographs by John Neff.
This exhibition signals a shift in Neff’s work away from the development of multi-media conceptual projects and toward the production of discrete photographic artworks. For the past eighteen months, the artist has been photographing his immediate environment using cameras assembled from altered consumer grade scanners and early twentieth century large and medium format camera parts. These devices capture images using a slow-moving linear scanning array, rather than a full-field sensor, and are prone to unpredictable mechanical and optical irregularities. Additionally, they are built without range- or viewfinders, requiring that compositional adjustments be made between, rather than before, individual exposures. This means that, in order to achieve a compelling likeness of his sitters, Neff requires their extensive cooperation in the time-consuming framing and exposure process.
Stylistically, the scanner photographs recall the straight photography of American Modernism, an important strain of 20th century art whose rich potentials for contemporary photography lie largely dormant. Pointedly self-conscious in their relationship to the art history of their medium, the pictures are also -- and perhaps primarily -- traces of intimate social encounters. Their subjects are not neutral; they are foci of the artist’s attachments, sometimes of his love. While working on these pictures, Neff carried his tripod-mounted scanner camera and laptop (the scanners were powered by, and the images stored to, a standard laptop) with him, occasionally "stopping" social encounters to photograph notable gestures, postures or scenes. The pictures are documents, but perversely so; in them, the instantaneous capture of decisive moments is slowed to thirty or more seconds, creating images that lie somewhere between spontaneous and staged. The photographs are the work of relationships between the photographer's intentions, the scanner camera's eccentricities and the sitters' actions: images resulting from three agencies performing in -- occasionally dissonant -- concert. A digital document containing the entire series and an essay written by artist Doug Ischar will be available for download through the gallery’s website.
This is John Neff's second solo exhibition with Golden Gallery. The first, John Neff Prints Robert Blanchon, was presented in Chicago late spring 2011. That exhibition processed the life and work of artist Robert Blanchon through the partial recreation of a 1995 artwork, Untitled (aroma / 1981). Neff lives and works in Chicago. His work is held in the collections of the Los Angeles Museum of Contemporary Art and The Museum of Modern Art Library, New York. The artist wishes to thank Eileen Mueller and Walker Blackwell of Latitude’s Artist In Residence program for their essential contributions to the realization of this exhibition.
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The gallery is located at 120 Elizabeth Street, between Grand and Broome. Gallery hours are Thursday – Sunday: 11am – 6pm, or by appointment. For further details please email info@goldengallery.co
Golden Gallery's press release.
Reception: Wednesday, September 5, 6 – 9pm New York
Golden Gallery is proud to present an exhibition of new photographs by John Neff.
This exhibition signals a shift in Neff’s work away from the development of multi-media conceptual projects and toward the production of discrete photographic artworks. For the past eighteen months, the artist has been photographing his immediate environment using cameras assembled from altered consumer grade scanners and early twentieth century large and medium format camera parts. These devices capture images using a slow-moving linear scanning array, rather than a full-field sensor, and are prone to unpredictable mechanical and optical irregularities. Additionally, they are built without range- or viewfinders, requiring that compositional adjustments be made between, rather than before, individual exposures. This means that, in order to achieve a compelling likeness of his sitters, Neff requires their extensive cooperation in the time-consuming framing and exposure process.
Stylistically, the scanner photographs recall the straight photography of American Modernism, an important strain of 20th century art whose rich potentials for contemporary photography lie largely dormant. Pointedly self-conscious in their relationship to the art history of their medium, the pictures are also -- and perhaps primarily -- traces of intimate social encounters. Their subjects are not neutral; they are foci of the artist’s attachments, sometimes of his love. While working on these pictures, Neff carried his tripod-mounted scanner camera and laptop (the scanners were powered by, and the images stored to, a standard laptop) with him, occasionally "stopping" social encounters to photograph notable gestures, postures or scenes. The pictures are documents, but perversely so; in them, the instantaneous capture of decisive moments is slowed to thirty or more seconds, creating images that lie somewhere between spontaneous and staged. The photographs are the work of relationships between the photographer's intentions, the scanner camera's eccentricities and the sitters' actions: images resulting from three agencies performing in -- occasionally dissonant -- concert. A digital document containing the entire series and an essay written by artist Doug Ischar will be available for download through the gallery’s website.
This is John Neff's second solo exhibition with Golden Gallery. The first, John Neff Prints Robert Blanchon, was presented in Chicago late spring 2011. That exhibition processed the life and work of artist Robert Blanchon through the partial recreation of a 1995 artwork, Untitled (aroma / 1981). Neff lives and works in Chicago. His work is held in the collections of the Los Angeles Museum of Contemporary Art and The Museum of Modern Art Library, New York. The artist wishes to thank Eileen Mueller and Walker Blackwell of Latitude’s Artist In Residence program for their essential contributions to the realization of this exhibition.
---
The gallery is located at 120 Elizabeth Street, between Grand and Broome. Gallery hours are Thursday – Sunday: 11am – 6pm, or by appointment. For further details please email info@goldengallery.co
Golden Gallery's press release.
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