#Like by Chakaia Booker

[k00282960]

Artist research: Chakaia Booker

Booker uses old discarded tyres and tubings of tyres to make outdoor sculptures. She twists, weaves and rivets the tyres to create movement and interest in her pieces.

This piece of work is called ‘Acid Rain’ it highlights environmental concerns through the use of discarded tyres and the title itself. The cracks and worn areas of the tyre can be interpreted as the wearing and tearing of our earth due to acid rain.

Booker’s work ties really well into my project as I collected old discarded tyres and tubings of tyres to repurpose and reuse. I have made sculptures just like booker has but I have taken my sculpture apart to reuse the tyres as prints and mark making to continue repurposing them.

[jackstovall4144]

Virtual Sketchbook 3

Chakaia Booker Empty Seat, 2006

Like much of Booker's other work featured at this exhibit, Empty Seat was made primarily with rubber tires. As such, the only color at work here is black. It weighs over 900 pounds, which I think does a great job on emphasizing it's presence. The sculpture gives off a sense of dynamism and movement, due to the tendrils that spill out and fold in on themselves. With the rendrils bending and folding in, it creates a sense of unity, not just with sculpture, but with Booker's other works, specifically her paintings. Booker is able to merge ecological concerns with racial and economic difference. The varied tones of the rubber represent human diversity, and the wear on the tires could symbolize human aging. I think at first it's hard to understand what Booker's sculptures are trying to symbolize, but after reading up on her more, you're able to look at the sculptures with a new perspective. Each tendril has it's place and serves a purpose, and unites with everything else to create an enviornmental message.

[k00299759]

°Making Things°

Artist Research

Erin Vincent

I was intrigued by Erin's work, the use of pins to create something that looks like it should be soft but untouchable.

Chakaia Booker

[rabbitcruiser]

Pink Day 

Bullying is a growing problem in the world today, and every year we hear more and more incidents coming up of bullying in schools everywhere. Bullying doesn’t stop in school, though, it extends out into the world outside of school and even into the virtual world of the internet. Bullying doesn’t tend to follow any kind of rhyme or reason, it’s merely the exertion of power over those who are weaker or stand out as unusual. Pink Day is a day dedicated to beating the bullies and breaking the cycle that creates and perpetuates this damaging behavior in schools.

History of Pink Day Pink Day was established in 2007 after a pair of students, David Shepherd and Travis Price, saw one of their fellow students at Central Kings Rural High School being bullied for no other reason than that they were wearing a pink shirt. In a stroke of brilliance, these two got together and decided to show support for the student and take a stand against bullying by getting everyone at their school to wear a pink shirt the next day. Pink Day was created to stomp out all bullying and spread understanding, and it’s a concept spreading throughout the world.

How to celebrate Pink Day Start the day by picking out your favorite pink garment and putting it on, especially if you’re a male-bodied person. Get out there and take a stand against bigotry wherever you find it by making sure the offenders know their calls will not go unanswered. If you see people getting bullied or harassed, be sure to walk up to them and help them out, don’t let them think they’re alone in the world. Pink Day is a day to stand up against the injustice of harassment and bullying, especially against minorities and those of the LGBTQ community. If you’ve ever been bullied, you know how important it can be to have someone stand up for you. On Pink Day, you can stand up for everyone with a simple wardrobe choice.

Source

[catherine-white]

https://www.nytimes.com/2021/05/07/arts/design/chakaia-booker-art.html?smid=em-share

For Chakaia Booker, Whose Medium Is Tires, the Art Is in the Journey

Craft is her axis of progress. “It’s the technique of getting it to go,” she said. “It’s the tools, putting my hands in position. It’s like wanting something and letting go. You have to go beyond in order to keep it going.”

[brooklynmuseum]

If you ask someone to name five artists, they will likely name prominent male artists, but how many people can list five women artists? Throughout March’s Women’s History Month, we will be joining institutions around the world to answer this very question posed by the National Museum of Women in the Arts (NWMA). We will be featuring a woman artist every day this month, and highlighting artists in our current exhibition Half the Picture: A Feminist Look at the Collection which explores a wide range of art-making, focusing on enduring political subjects—encompassing gender, race, and class—that remain relevant today. The show is on view until March 31, 2019.

Together we hope to draw attention to the gender and race imbalance in the art world, inspire conversation and awareness, and hopefully add a few more women to everyone’s lists.

Best known for her large-scale, free-standing rubber tire sculptures that have appeared in public sites throughout the United States, Chakaia Booker’s Sweet Dreams violently bursts out of its rectangular frame, offering an aggressive response to the tradition of the monochromatic black painting. Made from her signature material of cut and manipulated rubber tires, Sweet Dreams hardly suggests soothing dreams or the achievement of a calming aesthetic transcendence—like much of her work, it can be read as a response to the urban landscapes of her childhood in Newark, NJ, the industrial surrounding of her studio in Allentown, PA., and the fraught experiences of African-Americans within these environments.

Posted by Allie Rickard Chakaia Booker (American, born 1953). Sweet Dreams, 2000. Rubber and wood. Elizabeth A. Sackler Center for Feminist Art. Gift of Elizabeth A. Sackler, 2014.29.

[catspupil]

#day87 of #100daysofmusicproduction - more female artists, these being some of my favourite pieces. 🕷️at end . . Frida Kahlo is such an amazing artist, she manages to take oil paint and make it feel like a shawl around you as you look. This is her version of sending somebody a picture of yourself (in this case, to Trotsky to commemorate their brief affair) and casually also declaring allegiance to the Mexicanidad Mexican revolution and Marxism (note in hand). But damn I wish she could be alive in the smartphone era. @marcusjademusic I thought of you! Also pictured Pregnant Nana by Niki de Saint-Phalle, Viriato by Joana Vasconcelos, Self-Portrait by Gillian Wearing, The Stags by Patricia Piccinini (which I thought were snails) Anita Hill by Sue Coe, Acid Rain by Chakaia Booker, Superwoman by Kiki Kogelnik, Eridanus by Lynda Benglis, Spider III by Louise Bourgeois. . Such a breadth of ideas, colour, texture, scale, mindset and recognition. I was trying to work out why I chose these specific pieces. It is because each captured an energy and emotion I see constantly, either because it is present and not discussed at all, or completely nonpresent and constantly discussed. #art #artist #ursulavonrydingsvard #womenartist #sculpture #wood #cedar #washington #washingtondc #leather #100days #installation #installationart #violinist #travel #flying (at National Museum of Women in the Arts) https://www.instagram.com/p/BwGZ7RsnEko/?utm_source=ig_tumblr_share&igshid=ehtjpjsxkkp0

[femmesfollesnebraska]

Why I Love Women Artists: May Stevens, Freedom Riders

On this Martin Luther King, Jr., day, I’m thinking about artists who are black women that I love like Mickalene Thomas, Wanda Ewing, Carrie Mae Weems, Faith Ringgold, Adrian Piper, oh my gosh so many! There’s an amazing list of some here to check out: http://www.complex.com/style/2014/02/african-american-female-artists/chakaia-booker and here - https://www.artsy.net/article/artsy-editorial-overlooked-black-women-altered-course-feminist-art

I’m also thinking in particular about May Stevens’ Freedom Riders, a 1963 painting from an exhibit of the same name for which Dr. King wrote the catalog essay for. 

May Stevens, Freedom Riders, 1963, gouache on paper, 121.9 x 152.4 cm, 48 x 60 in., Courtesy May Stevens and Ryan Lee Gallery, © May Stevens

Stevens was reflecting on the Freedom Riders, civil rights activists who rode interstate buses into the segregated southern United States in 1961 and following years to challenge the non-enforcement of the United States Supreme Court decisions Irene Morgan v. Commonwealth of Virginia (1946) and Boynton v. Virginia (1960), which ruled that segregated public buses were unconstitutional. The Southern states had ignored the rulings and the federal government did nothing to enforce them. The first Freedom Ride left Washington, D.C., on May 4, 1961, and was scheduled to arrive in New Orleans on May 17.   (text from http://usstampgallery.com/view.php?id=fe19a4877332aafd1436a44af92d299a64b85872&Freedom_Riders__May_Stevens). The painting also became a stamp in 2005.

Much of Stevens’ other works also reflect on issues of social justice, patriarchy and power such as Big Daddy Paper Doll, depicting police officers in American flag colors in a darkly poignant way.

May Stevens, “Big Daddy Paper Doll” (1968), acrylic on canvas, 60 x 108 inches

One of my favorites of Stevens’ work is SoHo Women artists, which I saw at the National Museum of Women in the Arts awhile back, a stunning testament to women artists also in reds, whites and blue hues.

May Stevens, Soho Women Artists, 1978; Museum Purchase: The Lois Pollard Price Acquisition Fund; © May Stevens; Courtesy Mary Ryan Gallery, New York

Connemara (Rock Pool) 1999-2001 Acrylic on canvas with metallic ink. Joslyn Art Museum, Omaha Nebraska: Gift in memory of Linda Albin by family and friends JAM 2003.3

Also, the above abstract work I used to spend time with at the Joslyn Art Museum in Omaha, here it’s tiny but in the gallery it spans a giant wall, the dark greens mesmerizing, the abstraction different from the former work discussed.

Of course, May is the name of my daughter--so another reason the artist holds personal significance to me; maybe some day I will own one!

More on May Stevens:

https://awarewomenartists.com/en/artiste/may-stevens/

https://hyperallergic.com/143392/painting-the-power-of-patriarchy/

https://nmwa.org/explore/artist-profiles/may-stevens

[wallpaperpainting]

18 Reasons Why People Love Best Art Kits For Kids | best art kits for kids

In a accustomed time, aback a all-around communicable hasn’t shut bottomward schools and cultural venues, the Utah Building of Fine Arts would accept hundreds of schoolchildren visiting on acreage trips, admiring its art and acquirements the belief abaft anniversary work.

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This week, staffers at UMFA begin a altered way to affix with acceptance during the coronavirus pandemic, by putting art food and afflatus central a amber cardboard bag.

The abstraction was hatched during a chat amid Katie Seastrand, UMFA’s coordinator of academy and abecedary programs, and Noemi Hernández-Balcázar, the Granite Academy District’s art class specialist.

“She asked me, “What were the better needs?’” Hernández-Balcázar said. “I said that appropriate now, the better affair of agents is resources.”

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UMFA, like abounding cultural entities in Utah bankrupt aback March, has offered educational assets online. Seastrand was attractive for means to accomplish concrete assets available.

“They had some seniors who were at accident of not admission if they didn’t get custom abstracts and projects that they could do for their art classes,” Seastrand said.

So UMFA staffers put calm the art kits. Central anniversary bag is a sketchbook, a pencil, a sharpener, an eraser, black pencils and watercolors.

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Additionally in the kits is a set of cards, anniversary one featuring a account of an artwork from UMFA’s accumulating — from the ornately beaded “King’s Hat” in the museum’s African art accumulating to Chakaia Booker’s avant-garde carve “Discarded Memories,” accumulated from strips of car tires. Information on the cards is printed in English and Spanish.

The idea, Seastrand said, is “to use the cards as afflatus to again do their own projects.”

The building “could not accept gone added out of their way to advice our students,” Hernández-Balcázar said. “It is added than we could accept asked for.”

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Assembling the kits was an adventure, said Annie Burbidge Ream, UMFA’s babysitter of education, K-12 acquirements and engagement. The museum’s home on the University of Utah’s campus, the John and Marcia Price Building, is bankrupt during the pandemic, aloof alike to staffers after appropriate permission.

Three UMFA staffers,

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[kara-con-k-blog]

Some of the things I liked when I went to the NY Art Book Fair.

[polystumbles]

Diary 08/27-30/2016: The Art of the Family Trip

Amy’s Aunt and Grandma live in Chicago, and the kids had never met either. We decided to head to Chicago so that thing 2, our resident artist, could celebrate her Birthday amidst the great art of Chicago, and meeting the new family. It so happened that Amy’s mom and Dad decided to join us and had already driven over earlier in the week. I had made most of the plans, booking us a lovely executive suite, and her parents a room in the same hotel, all at a great discount, because that's what I do! Get great deals!

On the flight over the kids are awesome, because that's what they do. They read, the play, as we split them up thing 2 with me, thing 1 with mom. It's smooth sailing all the way into the hotel room, where the kids are excited to meet up with their grandparents. We hand them off for a spell, and settle into our room.

Once they’re gone, I haven't forgotten Amy’s reaction in NOLA. How she mentioned relief at getting sex out of the way. At the first opportunity, I make sure to throw her on the bed and fuck her. Rather than resent her statement, I decided to play with it.

The rest of the afternoon is great. We go for late morning Dim Sum, visit the Wicker Park Spy Agency, head to the Intuit Art gallery, for a large collection of African American art, and then down to Hyde park for board games and Ice cream. We take the kids back to the hotel, order some deep dish pizza (when in Rome they say), put them to bed, then walk over to our evening show,  leaving the grandparents to babysit.

 I got us tickets to an evening variety show with some burlesque, music, and comedy. We arrive early, walk around some more before settling down with some drinks before the doors open. We talk about a million things, but mostly we wind down to one question from Amy, “why haven't you left me?” If Z and I are so much more compatible, and we had gone through such a tough time, and even polyamory seemed to come easier for the two of us, why didn't I just leave her at any point once it became clear how much stronger my relationship with Z has become.

It was an interesting conversation. Both in terms of what she assumed, and what she observed. I told her as clearly as I could that the answer was very much the same answer to why I stay with Z despite her challenges: I’m here for the potential, not the promise, of our days and nights together. I talk about how we’re partners, her, me, z, in different and complementary ways. That perhaps the biggest thing we need is to let go of who we were, and continue to find, instead, who we can be. We can be great, we just can’t be who we were. Who we were had stopped working as a healthy relationship. We needed to forge a new path. But we are people capable of doing it, and she is someone worth walking that new path with.

We watched the show, then stopped by a lounge on the way back for some impromptu dancing. It was one of the few lounges on our walk back that had people of color -- the others were whiter than mayo, and so drunk it was might have been cinco do mayo(naise) -- so it was not going to be my crowd. We have a good time, avoid the few overly drunk people, and get out before we turn into pumpkins. 

On the walk back Amy and I stop at one of the bridges to talk some more. She had printed out a poem to read to me. It was the poem Polystumbles’ Last Theorem -- a poem I wrote for her back in 2014, that to this day remains as what is probably my all time favorite that I’ve written. We laugh at the wordplay and remember how it came to be, that she had a need -- I hadn’t written her a poem in a while -- and she gave me a constraint -- that it be based on Fermat’s Last Theorem. Why that constraint? Well years ago I had given her a book on the hunt for a solution, and it was a scintillating read. I don’t think she had it’s poly-esque implications, as explored in my poem, in mind. We laughed, smiled, cried, and walked our tired asses back to the hotel. We fell asleep after relieving the grandparents.

Sunday, Thing 2 largely takes charge. She navigates us using a map to the places I ask her to lead us. We have a quick snack ahead of her birthday brunch, then walk to Millennium Park for Cloud Gate, then some Chakaia Booker. We make it down to Buckingham fountain, before its time for brunch at Bohemian House with the grandparents, the great aunt, and the great grandma. Thing 2 loves brunch almost as much as she loved dim sum. I have a feeling that trips around her birthday are going to be a common thing. From brunch, it was off to Navy Pier, with a stop at After-Words bookstore because Thing 1 needs books like some people need air.  

Sunday night, Chicago didn’t have as much going on, and Amy and I decided to stay in and rest from the day’s insane walking. We take the kids to the hotel’s pool and unwind the rest of the evening, ordering in some dinner.

Monday, we bid the grandparents adieu and pack up ourselves. I laugh when I find some “sprinkles” from my Friday trip to the Ice Cream Museum in my pocket. The hotel’s paintings are not anchored to the wall, so a new entry joined my collection of Six Word Story additions. With just until the early afternoon left, we take the kids to museum row, hoping to see the aquarium. However, the line is so long that we end up going to the Field museum instead, which Isn’t exactly a bad option! Thing 2 adores the ancient jewelry and the rare gems. Surprise! Not. They end up having to be peeled out of the museum when it’s time to go.

We make it home, exhausted, but smiles all around even near midnight. All in all it was a great family trip.

[alexayala003]

Visiting ICA MIAMI

Visiting ICA Miami was a unique and different experience. I had never been to a collection and thought of a collection as an accumulation of similar work. When I arrived to the ICA Miami it was a very big nicely sculptured building. At the entrance I gave my information and proved my appointment to be allowed inside. I was given the rules which included no food or drinks and the face mask had to stay on at all times if not the employees would as us to leave, they also mentioned how we could not walk back to a room after leaving the room. Many employees stud by the doors and the art work which showed lots of security for this sculptures and paintings. The ICA Miami is very big inside and was very specious with plenty of room for the art and walking around. The art works where impressive and I really enjoyed the sculptures made out of tires. It was amazing to see the dedication and great precision in the artist work. I was amazed by the size of the sculptures and would find myself wondering how those very heavy and delicate pieces where brought to the venue. The exhibitions where very organized and where next to the same type of art work styles. I enjoyed the variety of sculptures and paintings and the large sizes. I believe a big space like the one in the collection allows the visitors to respect and admire more the work while being very careful.

The art work I enjoyed most was by Chakaia Booker: The Observance. It was amazing to see the art work from up close and also smell the scent of rubber. Since 1993 Booker has been creating a signature style with off-cast tires. The reason why this was the artwork I most enjoyed is because I have a passion for cars and I love to see how tires are being used in another artistic way. I spent the longest time in the ICA Miami in the floor where Chakaia Booker's art work was displayed because it was appealing to the eye.

I recommend a visit to ICA Miami because the experience is very unique and we can all learn more about where we live. Many people from all around the world wish to visit and gain this experience because it is an eye opening experience to others beliefs and creativity.

[ashleyvillazon]

Visit to De La Cruz Collection/ ICA (part Blog B)

Visiting De La Cruz Collection and ICA was a great experience over all. I attend on June 10 from 10-11 in the collection and 11-12 in the ICA museum. All the workers were very helpful and explain the artwork in details for me to understand the real message. It was very relaxing to walk around and look at all the artwork. My own personal thinking about a collection is we’re artist go to display their work. I feel like that artist created his or her own work and takes it to the collection. Not only 1 artwork but multiple which creates a collection. The artist who owns the collection welcomes other artists to show their work and are given a section in the collection where they can publish their work. I would say both De La Cruz collection and ICA had large space in their museum. None of the art work was crowded and every work had their own space to shine. Both had a wide space for their work. All the artwork were different and nice in their own ways. Some were just black and white other were very colorful. Some were objective and others nonobjective. There was a variety of arts. De las Cruz collection was very spacious which made it very easier to put the work up. Now ICA had a lot more space but emptier. It had the space but not as much artwork. both of the museums had both small and big paintings. They weren’t al just one size, but most were big. They also both has painting and sculptures. ICA had a floor full of sculptures in the other hand De LA Cruz had a few on the first and second floor. However I enjoyed both of the spaces and believe they have great space for artwork. I highly do believe space works well for the artist because it allows them to not be limited of the size of their art work knowing they have the space for it. I have 1 artwork from each museum that I like the most. From De La Cruz Collection I liked a painting named “Black star Press” the artist was Kelley Walker and around that painting Kelley did four color process silk screen canvases. His message behind this story is because back then Marther Luther King wanted a peaceful protest with no violence. During the protest the police officers came in and started to get violent and the media was saying that the African American were rioting when in reality it was not true. Kelley painted News paper bricks and cut it in pieces to show how the media crops out the truth and shows what people want to hear instead of the truth. Kelley’s painting had that message to show others that everything of the media might not be true. Under my reflection you’ll see the painting. It’s pretty interesting as well as the background story. Now for ICA museum the artwork I liked the most was a sculpture of shredded tires that look like spikes this was a collection of the artist. This sculptures has been sent to different centers and every time it transfer is reconfigured each time it’s displayed. I will also be showing an image of this sculpture. I totally recommend people to attend and support these spaces because they are made for us to learn things we don’t see on daily bases. It’s also a great experience to see different artworks. The museums can be a quiet and relaxing place to just go and look around and maybe even get ideas if you like to paint and do art. Other centers you need to pay to get on which is where the support role really comes into the picture, if they have people constantly going to visit the spaces they make money and are able to keep the business going. Now De la Cruz collection and ICA are totally free which gives you more of a reason to attend. Our community it’s giving us a free pass to visiting and see some art why not take the opportunity to visit a place with free of cost.

De la Cruz Collection

Giant baby- 82x48x104in Lamp/head-38x30x23in(head) 50x24x24in(base)

Kelley Walker, Black star press,83x208in (the one I liked most)

Hotbox,2010, Dan Colen chewing gum on canvas, 48x36in

ICA

Chakaia Booker,manipulating Fractions,2004

Lyle Ashton Harris, draws from a collection

Pedro Reyes,epricurus, stone

[rabbitcruiser]

National Pink Day is observed annually on June 23rd.  This day is set aside for the color pink and all it represents.

First used as a color name in the late 17th century, pink is a pale red color which got its name from a flower of same name.

According to surveys in both the United States and Europe with results indicating that the color pink combined with white or pale blue is most commonly associated with femininity, sensitivity, tenderness, childhood and the romantic.  Pink, when combined with violet or black is associated with eroticism and seduction.

Dating back to the 14th century, “to pink” (the verb) means “to decorate with a perforated or punched pattern.”

It would have been curious to find pink used in fabric or decor during the Middle Ages.  Occasionally it was seen in women’s fashion and religious art.  In the 13th and 14th century, the Christ child was sometimes portrayed dressed in pink, the color associated with the body of Christ. Pink was mainly used for the flesh color of faces and hands during the Renaissance.

The Rococo Period (1720-1777) was the golden age for the color pink. Pastel colors became very fashionable in all the courts of Europe during this time.  Madame de Pompadour (1721-1764), the mistress of King Louis XV of France, was known for wearing the color pink, often combined with light blue.  At one point in time, Ms. Pompadour had a particular tint of pink made specifically for her.

Pink ribbons or decorations were worn by young boys in 19th century England.  The men in England wore red uniforms and since boys were considered small men, boys wore pink.

Pink became much bolder, brighter and more assertive in the 20th century and 1931, the color “Shocking Pink” was introduced.

As one of the most common colors of flowers, pink serves to attract the insects and birds that are necessary for pollination.

~~~~~~~~~~

In the pink – To be in top form, in good health, in good condition.

To see pink elephants – To hallucinate from alcoholism.

Pink slip – To be given a pink slip means to be fired or dismissed from a job. First recorded in 1915 in the United States.

Pink-collar worker – Persons working in jobs conventionally regarded as  “women’s work.”

Pink Money –  the pink pound or pink dollar is an economic term which refers to the spending power of the LGBT community.

Tickled pink – means extremely pleased.

Source

[angelinegonzalez]

Institute of Contemporary Art (ICA) Visit

I attended the Institute of Contemporary Art on June 3 after visiting the De la Cruz Collection. I noticed that ICA was very similar to De la Cruz. It was very spacious and large. It didn't seem like the place was cluttered or crowded with people or too many pieces. There was a good amount of room to walk around and space between the artworks. The colors of the space were neutral and plain just like De la Cruz. The walls were white and the floors were a light wood color. I think all museums do this to not distract visitors from the actual collection. When I went there were barely any visitors. It was just me and the group of people I had gone with. Just like the De la Cruz Collection, ICA had three floors. When I attended, the second floor was closed off so I was able to only go to the first and third floor. Both of these floors had a mix of both paintings and sculptures. For the most part I'd say the pieces were large. The first floor consisted mostly of paintings and photographs. The photographs were representational since they were pictures of people, some were posing others weren't. As for the paintings, many were abstract but there were also some representational ones as well. They even had journals in cases too which I thought was pretty cool. Writing is definitely a form of art. It also had this very large white sculpture that was very impressive. In the first floor I went into this theater that was part of the collection. I was fascinated with this because it was something different. In the third floor, there was an exhibition of many pieces made out of tires. I think most of these pieces carried a political message considering the fact that the exhibition was featuring black artists. There were also many paintings up on the wall as well. Most the pieces in this floor were black or dark shades. The message behind them seemed dark and sad. In the ICA there was also an outdoor area with many pieces. I saw it from inside of the space since I wasn't able to go outside due to the rain. Below, I attached some pictures of the pieces that fascinated me the most.

Chakaia Booker, The Observance (Conversion), 2006

This piece can be found on the third floor of the ICA. It is made out of wood and tires. What impressed me the most about this piece was its massive size and how much space it takes up. The artist who made this would collect discarded tires from the streets near her home when she was younger. The rubber is supposed to represent the lower class economical issues and other disadvantages. However to the artist thinks of it as "infinite possibilities". I also loved this story behind the piece.

Isaac Julien, Vagabondia, 2000, (Digital Film, 12 min 33 sec)

This area of the space can be found on the first floor. This part is practically a movie theater. You go into this nice dark room with red walls and a small bench where you can sit to see a film being played. The film seems to be mirrored. By the way the characters were dressed and the background, I think this piece has some historical meaning. I would say it serves as a fun interactive artifact. What impressed be the most was how interactive it was. This part of the space was an experience on it own. I had never seen anything like it!

Robert Grosvenor, Untitled, 1968-70/2019

This piece can be found on the first floor. It is made out of steel and plywood that is painted the color white. What impressed me the most was its size and how it is hanging from the ceiling. The exhibition takes up the entire area of that part of the museum. It seems very heavy too. I also like how minimalistic it is. I think its untitled because so that the spectator can just focus on the aesthetic experience of the sculpture itself.

Conclusion:

At the end of the day, I really enjoyed the entire time I went to ICA. I was able to see many interesting pieces of art and appreciate them more. I would love to go back soon to see what exhibitions are there in the future. Im sure they will be just as great or even better than the ones I saw when I went this time. I think if people are in the area, they should definitely check out the ICA because observing art in person is a different and great experience. It is also a great opportunity to learn about artists and acknowledge the meaning behind their pieces.

[micaramel]

Artists: Polly Apfelbaum, Huma Bhabha, Chakaia Booker, Barbara Chase-Riboud, Evan Holloway, Ruby Neri, Mindy Shapero, Arlene Shechet, Paul Pascal Thériault, Betty Woodman

Venue: David Kordansky, Los Angeles

Exhibition Title: Taurus and the Awakener

Date: July 21 – August 25, 2018

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of David Kordansky, Los Angeles. Photos by Jeff Lane.

Press Release:

David Kordansky Gallery is pleased to present Taurus and the Awakener, a group exhibition featuring sculptures by Polly Apfelbaum, Huma Bhabha, Chakaia Booker, Barbara Chase-Riboud, Evan Holloway, Ruby Neri, Mindy Shapero, Arlene Shechet, Paul Pascal Thériault, and Betty Woodman. Occupying both of the gallery’s spaces, the exhibition brings together floor- and wall-based objects from a diverse group of contemporary artists, highlighting their pronounced materiality, organic forms, and simultaneous emphasis on craft-based discipline and free-ranging intuition.

Taurus and the Awakener takes its title from the astrological lexicon, and makes reference to the recent ingress of the planet Uranus into the zodiacal sign of Taurus. In his 1995 book Prometheus the Awakener, cultural historian Richard Tarnas describes how astrologers have come to associate Uranus with “change, rebellion, freedom, liberation, reform, revolution, and the unexpected breakup of structures; with excitement, sudden surprises, lightning-like flashes of insight, revelations and awakenings.” Suggesting that the planet was misnamed, he instead connects its archetypal terrain to the myth of Prometheus, who disobediently stole fire from the gods in an egalitarian act of technology-sharing.

Uranus entered Taurus in May 2018, and will remain there, save for a brief return to Aries later this year and early next, until July 2025. Taurus, as a sign whose symbolism is related to the sensual, the earthy, the grounded, and the fecund, would seem to counteract the excitability and ruthless penchant for innovation that define the Uranian archetype. But combining their themes conjures visions of radical natural structures and an eclectic, searching femininity that inspires a distinctly embodied form of sense perception.

It is this spirit that Taurus and the Awakener seeks to channel by juxtaposing sculptures whose intellectual rigor and experimental ethos are inextricable from their physical expression. Materials used to make the works on view include glazed clay, tires, cigarette packs, incense, dyed velvet, bronze, and broken mirror. They are alternately imposing, ephemeral, dimensional, and provocatively flat; some explode with–or explode as–psychedelic bursts of color, while others rely upon subtle and brooding variations of hue to bring out the intensity of their textures. Rich in concepts articulated via non-linguistic modes, the exhibition teems with intricate patterns and esoteric geometries.

These broader formal considerations are rooted in conversations that emerge between individual works. For example, the intense, monumental presence of Chakaia Booker’s sculptures built from sliced tires, which function as wide-ranging metaphors for a host of social and environmental conditions–labor, race, class, urban development–enter into idiosyncratic dialogue with the assemblage constructions of Paul Pascal Thériault, in which constellations of cigarette packs and other found materials are perched on shelves or pedestals. Both artists bring new life to discarded objects by subjecting them to an abstract sense of order.

Polly Apfelbaum reformulates the category of the monumental altogether in a sprawling floor-bound work composed from quantities of dyed fabric pieces. Essentially a horizontal painting, it nonetheless has a distinct materiality that allows it to keep some of its many feet in the realm of sculpture. Such dismantling of genre divisions is a recurring theme. In an example from Betty Woodman’s Aztec Vase and Carpet series, a large-winged ceramic vessel rests on a piece of canvas layered with flat ceramic fragments; all elements have been glazed or painted with bright colors and patterns so that they unify in a Cubist-inspired tour de force of spatial illusion and visual rhythm. Ruby Neri, whose contributions to the show also come in the form of ceramic vessels, produces boldly Venusian images of the female body, glazing the undulating sides of large pots with relief paintings of women in Dionysian revelry.

The human–or humanoid–form plays an equally important role for Huma Bhabha. Her hybridized figures take many shapes, with some immediately recognizable as people or creatures, and others built from rough-hewn, harder-edged, modular components; what unites them is their mysterious emotional availability. Mindy Shapero’s totemic sculptures, with their psychedelic vortices of rainbow color, retain human warmth even when they depart completely from figuration. In one new work, two sizable interlocking circles, covered with swirls of puffy paint and reflective shards, are like the rings of planets, or rings of smoke blown by a fanciful deity.

The galleries will in fact be filled with the smoke wafting from Evan Holloway’s incense holders, whose cylindrical forms–made from steel, plaster, clay, and other materials–also bear melancholic and slightly sinister stains left behind by the spent batteries used to create the characteristic circular openings in their surfaces. Holloway pits an avuncular, even hopeful otherworldliness against the unromantic facts of life on Earth in an era profoundly marked by the effects of industrial processes. The relationship between nature and artifice comes to the fore in works by Arlene Shechet, especially one in which a painted wood base supports ceramic forms that themselves appear to have been crafted by natural forces.

Throughout much of this exhibition, art follows the way of nature, guided by its innate compositional drives and responding to its sense of proportion. Barbara Chase-Riboud’s sculptures, made from ribbon-like lengths of bronze and silk cords, are poetic exercises in polarity. They combine extremes of hardness and softness, rigidity and flexibility, and structure and ornament, and not only suggest that the most powerful innovation might in fact be a radical act of synthesis, but remind us that the physical world in which we live is constantly inventing ways to unify and balance itself. Given that an instinct toward violent ideological polarity has become a defining feature of our species, perhaps Uranus’s transit through Taurus over the next seven years symbolizes the paradoxical shock that will accompany true harmony, if and when it comes.

Link: “Taurus and the Awakener” at David Kordansky

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