Golden Age (2007–2011) is CLOSED FOREVER. This site now functions as an archive. Thank you for your patronage.
Red Hook Journal
The Center for Curatorial Studies (CCS) at Bard recently launched Red Hook Journal, a web-based publication edited by Tirdad Zolghadr that aims to "discuss intelligent criteria through which curators can be held accountable by artists, audiences, and their own colleagues." Initiated in response to the rise of the curator, and the subsequent backlash to such a role, Red Hook Journal fills a critical space in the contemporary art discussion.
I was particularly amused by LA-based writer Bruce Hainley's column on composing a catalogue essay, an excerpt:
I was going to suggest that writers take back the liberties artists have for decades taken from them, but my iPad battery’s in the red, and, honestly, I’ve never met another writer—a person who tries to get words to warp space-time—who takes, for example, Lawrence Weiner seriously as a writer, although by the sheer number of publications dedicated to or by him you’d think he had contributed something to literature, to writing, as prepossessing as . . . Dave Eggers’. Graphic designers, absolutely, but not writers. There’s no liberty there to be taken, kids, that well’s run dry, which isn’t to say that the cold corpse of e. e. cummings doesn’t still cry comma tears.
A Big Thank You
"So many people have helped me to come here to this night. Some of you are here, some are far away and some are even in Heaven. All of us have special ones who loved us into being. Would you just take, along with me, 10 seconds to think of the people who have helped you become who you are, those who cared about you and wanted what was best for you in life. 10 seconds, I'll watch the time. Whomever you've been thinking about, how pleased they must be to know the difference you feel they have made. You know they're kind of people television does well to offer our world. Special thanks to my family, my friends, and my co-workers in Public Broadcasting and Family Communications, and to this Academy for encouraging me, allowing me, all these years to be your neighbor. May God be with you. Thank you very much."
Thank you to our family, friends, collectors, visitors and everyone who we've had the pleasure to work with over the past 5 years. You are all incredible. Golden Age is nothing without you. Thank you for supporting us and believing in us. We're honored that we've gotten to enjoy the company of so many amazing people. We've got big plans for the future. Stay with us.
Marco K Braunschweiler & Martine Syms
David Hartt: Stray Light
"David Hartt’s project Stray Light inaugurates a new series of media-based exhibitions at the MCA called MCA Screen. Hartt, a Chicago-based Canadian artist, has been working with photographs for many years, attracted to the social, cultural, political, and economic complexities of the subjects he captures, rendering them with a cool, dispassionate eye. Stray Light includes a film displayed in a room carpeted in the style of his subject, the Johnson Publishing Company building in Chicago, as well as a group of photographs in an adjacent room. Granted unprecedented access to film and photograph in this John Moutoussamy–designed building after a long process of earning the trust of the owners, Hartt earnestly records the time-capsule nature of the space, which meticulously heeds to Arthur Elrod’s original 1971 interior design. The building was purpose-built as the headquarters of this important publishing company, made famous by its Jet and Ebony magazine titles and its role as a leading arbiter of African-American taste and culture during the latter half of the 20th century. Moutoussany was an African-American partner in the firm Dubin, Dubin, Black, and the eleven-story building has an iconic presence on South Michigan Avenue with its illuminated Ebony-Jet marquee at the top of the building. The interior of the building is a clear and exuberant expression of Black taste, resolutely modern, colorful, and complex, a pure expression of founder John Johnson’s vision of what a leading, Black-owned business can be."
Paul Theobald and Company: Images
Lauren Anderson, Untitled, 2011, Collage and sandblasted glass in artist’s frame, 14.75 x 11.75 inches
Robin Cameron, Self-Portrait Abstraction, Oil on mirror, 21 x 17 inches
Paul Stoelting, Full Save, 2011, Wood and photographs, 46 x 28 x 6 inches
Lauren Anderson, Untitled, 2011, Collage and sandblasted glass in artist’s frame, 21 x 19 inches
Robin Cameron, Golden Section, Soldered steel, 9.75 x 6.75 inches
Robin Cameron, For Jan, Digital inkjet print, 17.25 x 26.25 inches
Lauren Anderson, Untitled, 2011, Collage and sandblasted glass in artist’s frame, 17 x 13.25 inches
Lauren Anderson, Untitled, 2011, Collage and sandblasted glass in artist’s frame, 15 x 12 inches
Lauren Anderson, Untitled (Clown Tears), 2011, Collage and sandblasted glass in artist’s frame, 18.5 x 23.75 inches
More information and images.
Barbara Kasten: Experimental Photography from the 1970s
If you're in Los Angeles this Saturday I highly recommend Barbara Kasten: Experimental Photography from the 1970s at Gallery Luisotti:
"Gallery Luisotti is pleased to announce its upcoming exhibition, Barbara Kasten: Experimental Photography from the 1970s, opening November 19th. Kasten’s early concern with the interplay between sculpture, light, and installation in her art mirrored the greater interest of the then burgeoning California light and space movement arising in the 1960s. Formally trained as a painter, and rooted in the visual dialogue of Constructivist art, Kasten’s work has been a continual practice of mediating and reconciling opposing ideas, from sculpture to photography, light and shadow, and objects to immateriality. The exhibition marks Gallery Luisotti’s contribution to Pacific Standard Time: Art In L.A. 1945-1980."
Barbara Kasten: Experimental Photography from the 1970s
November 19, 2011 – January 7, 2012
Opening: Saturday, November 19th, 6-8 pm
2525 Michigan Ave # A2
Santa Monica, CA 90404-4031
I Can Read
Dossier: Hirsch Perlman
All images copyright Hirsch Perlman.
View Hirsch Perlman: the Renaissance Society in the webshop.
HIMAA Work 3681
Masanao Hirayama, 3681, 2011, Plastic bottle, dry ice, water, wood, cup, acrylic, dimensions variable.
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