Similarly, several of Linda Stark’s textured relief paintings fuse female body parts and floral motifs within a physically mottled surface that looks like synthetic skin. A witty self-portrait focuses just above watery eyes onto her forehead, its “third eye” a picture of her cat inside a pink aura. The complex, hands-on demands of painting perhaps stand as an indicator of a continuing reaction to today’s gauzy, enveloping digital ether. As the curators didn’t nominate a unifying concept, the biennial, spread out across the entire museum, thus seems even more sprawling than usual, leaving the viewer to take each installation on its own terms. June 3 to September 2, 2018 Surprises abound. Now it’s being used to deny it. As with Halsey’s current fine installation downtown at the Museum of Contemporary Art, which spins off the Classical motif of Plato’s Cave, this piece also looks to an ancient source — the Egyptian form of a cenotaph, or empty tomb. The forms draw on diverse pictorial legacies — say, a Uruguayan abstractionist like Joaquín Torres-Garcia and a Swiss one like Max Bill or a Russian like El Lissitzky. Part of the reason comes from simple, dramatic contrast. see designboom’s ongoing coverage of the 2018 venice architecture biennale here. Oil on canvas over panel, 36 x 36 inches. This time it’s not quite believable. The President of La Biennale di Venezia, Paolo Baratta, together with the curators of the 16th International Architecture Exhibition, Yvonne Farrell and Shelley McNamara, met the press today at Ca’ Giustinian to launch the 16th International Architecture Exhibition that will take place from May 26th to November 25th 2018 (Preview … The quirky paintings, touchingly civilized, are a gentle but firm avowal of humanity during extraordinarily trying times. Here’s what they actually mean for you, COVID-19 deaths and hospitalizations in U.S. smash records for a single day, Hospitalizations surge to unprecedented heights, Review: In the high-spirited Danish dramedy ‘Another Round,’ they drink, therefore they are. Barely out of art school, she hasn’t shown much in L.A., so Quarles ranks as perhaps the biennial’s most exciting discovery. Rather than triumphant, these photographs seem to propose that cruel division only serves to create martyrs. Although the show is at pains to blur the boundaries of old-fashioned media, two younger painters also memorably twist figuration to their own ends: Christina Quarles, whose looping, semi-abstract protagonists blithely overflow their domestic props, geometric confines, and peeling patterned backdrops; and Celeste Dupuy-Spencer, whose figures navigate their own subjective relationship to both narrative painterly traditions and scenes of traditional Americana. Courtesy of the artist and Steve Turner Gallery, Los Angeles. The exhibition is scheduled to open on June 3 and will run until September 2, 2018. Ore-Giron’s abstract painting and Martinez’s representational photographs occupy very different points on the show’s broad spectrum, but both refer back to the alarming social context to which the 2018 biennial is attuned. He photographed himself at 80 spots holding aloft processional banners adorned with the face of Ulrike Meinhof, the Red Army Faction militant, shown at different stages of life — schoolgirl, ingénue, slain terrorist. Daniel Joseph Martinez traveled the length of the old Berlin Wall, which once kept Soviet-dominated East Germans from emigrating to democratic West Germany. Taking place every two years across the city in public spaces, galleries and museums, the Biennial commissions international artists to make and present work in the context of Liverpool. That confluence of sociological critique and bodily engagement provides the closest thing to a central theme, and gives the exhibition the feeling of a quirky, consciously “woke” travelogue of sorts. Dance is seamlessly integrated into a line of six wall-mounted flat-screen video monitors by choreographer Flora Wiegmann. Known for movies about crime and chaos, director David Fincher delivers a personal tale with “Mank.”, ‘Big Mouth’ recast one of its leads — and reinvented itself in the process. “Made in L.A. 2018” is the best one yet. "artcritical," "artcritical.com" and "The Review Panel" (c) artcritical, LLC 2003-2010, TODAY: The Review Panel: Blake Gopnik and Laila Pedro, Curatorial Lyricism: “Perfect Likeness” at the Hammer, Give You So Much More: Jim Hodges at the Hammer Museum, Photo Presence, Video Fantasy: The Life and Work of Robert Heinecken, Multiple Layers of Significance: Mike Kelley at LA MoCA, From the Ragged to the Glazed, the Distilled to the Distressed: A Survey of Ceramics in LA, Flows of Light and Form: The Life and Work of Emmanuel Cooper, Vitality Amidst the Ruins: Lower Manhattan’s gritty golden age, “Here one can be both modest and ambitious”: Report from the Québec City Biennial, Strange Intimacies: A Survey of Paula Rego in Cascais, Portugal, Mit Schlag: Post War Abstraction in Vienna. The refined comeliness of Ore-Giron’s painting is one seductive method. It is underpinned by a year-round programme of research, education, … China's Richest. One highlight is the work of Linda Stark, whose formally graphic, densely built up oil paintings conjure personal and feminine topographies, with striking technique and an appealing sincerity. The sleek formal rhythms of the Hammer mural are neither monolithic nor combative. Right now, in the face of America’s reactionary narrow-mindedness, the work’s insistent cross-cultural heterogeneity feels joyfully subversive. Now it’s just a number. According to Anne Ellegood, co-curator of “ Made in LA 2018,” the Hammer Museum’s biennial art show, the mood among the city’s artists these days is surprisingly optimistic—even as much of their work in her upcoming exhibition wrestles with a fraught, unpredictable world. Funded through the generosity of Los Angeles philanthropists and art collectors Jarl and Pamela Mohn, three awards totaling $150,000 will be given to artists in the exhibition: the Mohn Award, the Career Achievement Award—both of which are selected by a … City of L.A. issues stay-at-home rules that mirror L.A. County order. LOS ANGELES, CALIFORNIA—The participating artists for the fourth edition of the 2018 Made in LA biennial, organized by the Hammer Museum’s Anne Ellegood and Erin Christovale, have been announced. To anyone who’s ever lost a beloved animal friend, or just anyone searching for some actual human feeling in contemporary art, Stark’s precise but soulful canvases resonate powerfully. The Venice Biennale (/ ˌ b iː ɛ ˈ n ɑː l eɪ,-l i /; Italian: La Biennale di Venezia [la bi.enˈnaːle di veˈnɛttsja]; in English also called the "Venice Biennial") refers to an arts organization based in Venice and the name of the original and principal biennial exhibition the organization presents. Courtesy of UCLA Hammer Museum. Instead, they look to South America and Concrete art, with its cross-fertilization of imported European and indigenous modernisms. Courtesy of the … Here, it’s a void in the Earth that becomes an erotically suggestive spatial atmosphere. The Hammer Museum’s biennial, “Made in L.A. 2020: a version,” is still closed to the public due to COVID-19 restrictions. The organization changed its name to the Biennale … The list etched into interior walls includes Trayvon Martin, Freddie Gray, Sandra Bland and Philando Castile, plus dozens of unfamiliar names. These 33 — up from 26 last time — were chosen with a keen attention to the resonance of their work within our socially disturbed time. Yet it is to the curators’ credit that more intimate visions also had room to shine. A virtual mural of shifting viewpoints, it exploits camera-work as bodily movement matching that of the depicted dancers. ‘What do you do about it?’ Season 4 is the answer. David Fincher has had plenty of hugs. It is the first to be held in the Whitney’s downtown home at 99 Gansevoort Street, and the largest ever in terms of gallery space. A quiet revolution has happened, with its own profound resonance amid today’s social strife. Comprised of photographs and virtual reality volumetric testimonials, Made This Way: Redefining Masculinity is an interactive mixed-media documentary that explores how transgender men are challenging gender norms and redefining traditional masculinity. Martinez, who is Mexican American, has fashioned a Meinhof processional placard that recalls Catholic saint-banners, which derive from the military standards once carried into battle. These 33 range in age from 29 to 97 — the youngest (textile artist Diedrick Brackens) born in the immediate aftermath of the Reagan Revolution’s rightward jolt, the oldest (painter Luchita Hurtado) in the wake of the blistering brutalities of the First World War. What’s playing at the drive-in: ‘Ma Rainey’s Black Bottom,’ holiday favorites and more. As always, the biennial emphasizes emerging and established but often lesser-known artists. Just five were born in Los Angeles, while eight are foreign-born. In this white cube, humility equals grandeur. In a palette of breezy pastels and tertiary hues, Eamon Ore-Giron painted hard-edge, geometric shapes that seem to fuse landscape elements represented as natural, industrial and schematic. Women have long outnumbered men in the artist ranks, but institutions have been a drag on reality.
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