The constant hiss and swoosh of the crashing waves and stirring sea was a sound I had taken for granted until I returned from being away for nearly a month. The sun was a welcome experience after two weeks in cloudy and rainy London and Paris, but only for about 3 minutes before I recoiled from the sizzle on my neck and arms and the heat kept rising until the body started cooling itself via perspiration, a system my body has left dormant for the last few weeks.
Every Eye Open
Jeffrey Gibson fashions his ceramics in the style of early Mississippian culture ceramic “head pots,” paying due to the complexities of American history by accessing a less prominent ceramics tradition. In each piece, we can see his deep interest in prehistoric works, brutalist architecture, fat lava ware and contemporary conversation. These “pots” were historically vessels shaped like human heads, typically male, and the personages depicted were deceased.
In July 1983, Betye Saar was commissioned to create a large-scale public art initiative for the city of Los Angeles. Entitled L.A. Energy, the joyful mural incorporated several key motifs of Saar’s practice, including collage and the interplay of varying hues to highlight a decidedly Los Angeles color palette.
My first trip to Europe was for a group show in Milan. Denise, the curator, wanted to have one new face, someone no one had heard of, along with the usual suspects. I was 'the new face' and jumped at the opportunity to see Europe the first time. After the show opened my host, Massimo, made arrangements for me to take a train to Florence. I wanted to go to the Uffizi Gallery to see the Botticellis and Titians.
In this selection of poetry by Betye Saar from 1977-97, the artist contemplates themes of ancestry, identity, memory and ritualized art making. Intimate and autobiographical, they afford a glimpse of the artist’s visual thinking and reveal aspects of her distinctive creative process. This presentation additionally highlights related artworks, archival photographs and ephemera, underlining the expansive and fluid nature of Saar’s practice.
Report from Suburbia
A boy is dared by his peers to toss a large rock from a freeway overpass into the river of cars below. The slot machine arm is pulled and the wheels start spinning. The cartoon gears are revealed inside an empty head straining to make a decision. The duality of the brain debating the outcome while good and evil teeter on a sliding fulcrum—darkness and light swirling together into one—turn the yin yang into a grey circle.
Michael Dopp's previously unreleased books explore the idea of the book as a continuous exchange: between writers and readers, participants and voyeurs, art and periodical, private thoughts and public spaces, theory and practice. The difficult in ascribing any absolute label to these many manifestations is reflective to the collaborative environment in which artists’ books are made in. A spirit of performance, play and chance pushes the conventions of form, color and line.