David Bernabo and Natalia Gomez spend a good deal of time trying to crack the system of a complex kinetic work.
“It’s not completely about the gesture of the figure, but also about the modeling—the detail of the hands, feet, and the rib cage.” The Object looks at sculptor Paul Bowden’s Two Figures, Front to Front.
“These pieces, in a structural flux, exist between solid and gelatinous forms.” David Bernabo and Natalia Gomez examine the enigmatic creations in Brandon Boan’s Waxing & Waiting.
“Black paper, hung in front of black walls, with thousands of tiny, tiny pins sticking out”: David Bernabo and Natalia Gomez in conversation review one piece from Sarika Goulatia’s current exhibition at the PCA.
The Object is a hyper-specific art-experience review-via-dialogue—a focus on one particular piece of art out of a larger exhibition. David Bernabo and artist Natalia Gomez begin with what’s essentially a miniature museum of curiosities.
For an upcoming show of new work, Seth LeDonne strips paintings down to essentials, focusing on phrases that are intimate, approachable, and often acerbically witty.
Long-distance collaborators Barbara Weissberger and Eleanor Aldrich use illusion to play with material and material to play with illusion.
In Remains, artist Adam Milner has formed a corporeal, archival display of items from his own collection—and from Andy Warhol’s.
Hélio Oiticica: To Organize Delirium, a major retrospective of the influential Brazilian artist in the United States, opens this weekend at the Carnegie Museum of Art. We spoke with some of its organizers about the artist and the nitty gritty of curation.
“If there is no process in it, it doesn’t feel like work,” says artist Sarika Goulatia on her labor-intensive studio practice.