What’s the best place in America to see Richard Serras? Surprise: It’s St. Louis!
Today on Modern Art Notes, I list Serras in St. Louis — and explain that as great as St. Louis is for Serras, it’s about to get even better. (And with a little initiative from the City of St. Louis, it could get a whole lot better.) Serra and I discussed the importance of St. Louis to him, his work and even his life on this week’s Modern Art Notes Podcast.
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Image: Richard Serra, Joe, 2000. Collection of the Pulitzer Foundation for the Arts, St. Louis.
This week’s Modern Art Notes Podcast features Mark Handforth, whose work is on view at the Museum of Contemporary Art North Miami in the survey exhibition, “Mark Handforth: Rolling Stop.” Handforth’s work has been exhibited all over the world, including this past summer at the MCA Chicago and before that at the Hirshhorn, the Whitney, the Dallas Museum of Art, the Art Institute of Chicago, the Hammer, in New York’s Central Park and in France, Norway, Ireland and Switzerland. (Phew!)
In the show’s second segment, LACMA curator Sofía Sanabrais and I discuss the seemingly unlikely story of how exactly Japanese screen painting came to influence Mexican painters during the Spanish colonial period.
Today on Modern Art Notes: Artist Mike Kelley died on Tuesday. He was 57.
I didn’t know Mike Kelley, but his last two major U.S. installations are among the most awesome things I’ve ever seen. Here are a few of my memories about them.
[Image: Mike Kelley’s Kandors, installed at the Carnegie International at the Carnegie Museum of Art, Pittsburgh, 2008.]
The art: Doug Aitken, last blast, 2008.
The news: “The Supreme Court and the Filthy Words You Still Can’t Say on TV,” by Garrett Epps for TheAtlantic.com.
The source: Galerie Eva Presenhuber.
The art: Chris Burden, Metropolis II, 2011.
The news: “In Long Beach exhibit, urban planning is art and play,” by Bob Pool in the Los Angeles Times.
The source: Metropolis II officially opens at the Los Angeles County Museum of Art this Saturday, Jan. 14. (It’s up now, but…) The museum has posted the times during which the sculpture will be “in action” here. Burden and I discussed Metropolis II on the inaugural Modern Art Notes Podcast, which is available for download/streaming here and via iTunes here.
Bruce Nauman, Green Light Corridor, 1970. Collection of the Solomon R. Guggenheim Museum, New York.
This week’s Modern Art Notes Podcast features Los Angeles Times art critic Christopher Knight, who joins me for a look at the Pacific Standard Time series of exhibitions in southern California.
To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To download the program directly, click here. To subscribe to The MAN Podcast’s RSS feed, click here. To stream the program and see images of works discussed on the show, click here.
The art: Bruce Nauman, Floating Room (Light Outside, Dark Inside), 1972. The work is made of painted wallboard, wood, and fluorescent light fixtures. It’s 10 x 16 x 16 feet; and is suspended six inches above the floor.
The news: “The ‘Top Secret America’ Created After Sept. 11,” on NPR’s Fresh Air. Terry Gross interviews Dana Priest, the co-author of “Top Secret America: The Rise of the New Security State.” The reporting done by Priest and co-author William Arkin was also the subject of this PBS Frontline program.
The source: Collection of the Solomon R. Guggenheim Museum, New York.
The art: Matt Johnson, Breadface, 2004. The work is made of cast plastic and oil paint.
The news: This week NPR’s Fresh Air is featuring a week of programs on food. Food is one of Western art’s classic subjects, so MAN will feature a special food post each day. Today: Slices of bread. Think of them as post-war American art’s take on the classic, food-packed Dutch or French still-life. For more on the subject — and some of the artworks featured here today, see this post on Modern Art Notes and a smart response from Kriston Capps.
The source: Hammer Museum, which featured Breadface in the 2005 exhibition “Thing: New Sculptures from Los Angeles.” The show was curated by James Elaine, Aimee Chang and Christopher Miles.
Note: An apparent, er, cousin of Breadface appeared in a Nissan commercial the year after the work was on view at the Hammer…
Today on Modern Art Notes: This new Nancy Rubins at Buffalo’s Albright-Knox Art Gallery isn’t just an awesome sculpture, it could help connect the perpetually underrated art museum to its community and help the museum recover from years of self-inflicted wounds.
The art: Alexander Calder, Helen Wills, 1928.
The news: “What caricatures can teach us about facial recognition,” by Ben Austen in Wired magazine.
The source: Calder Foundation, included in the exhibition “Calder’s Portraits: A New Language,” which was on view at the National Portrait Gallery earlier this year.