This incredible art space hidden in plain view

On the ground floor of the WIOX 91.3 FM, a community radio station that is entirely supported and run by local talent. We are forever thankful to the man who, seeing us peering through the windows, opened up the doors and gave us a tour of his work space & art, took us upstairs to the radio floor, and allowed us to take photos.

You can listen to WIOX 91.3 FM here.

Roxbury, N.Y.

July 23rd, 2019

No end to art

Just the end of our walk in one of the largest art museums of contemporary art we’d seen so far, one that leaves breathing space for the art to expand and feel totally at home, as if it were borne to be there.

François Morellet, “No End Neon,” 1990/2017

Louise Bourgeois, Crouching Spider, 2003.

Robert Smithson, Map of Broken Glass (Atlantis), 1969

Dia:Beacon

July 15th, 2019

Barriers

Top:
Installation by Dan Flavin (untitled, 1970), a work that was conceived as an edition of three, but only two were produced. The other one is installed in Donald Judd Foundation, 101 Spring Street Space, in New York City, the first building Judd owned, where he worked and lived with his family. It was created specifically to illuminate the family’s bedroom, at a time that the two artists and friends were working so closely together that, for a while, they had become Flavin & Judd.

The gorgeous windows behind Flavin’s installation are part of Robert Irwin’s design for Dia: Beacon, Beacon Project (1999–2003) that conceived the museum as a work of art itself.

Bottom:
Just barriers, artfully stacked.

Dia:Beacon

July 15th, 2019

Geometric Solids

Charlotte Posenenske, Series DW Vierkantrohre (Square Tubes) [Angular pieces], 1967/2018
Lee Ufan, Relatum, 1974/2019
Imi Knoebel, Raum 19 (Room 19), 1968
Robert Smithson, Leaning Mirror, 1969
Donald Judd, Untitled, 1976
Donald Judd, Untitled, 1976
Donald Judd, Untitled, 1991
Donald Judd, Untitled, 1976
Gerhard Richter, Six Gray Mirrors, 2003
Gerhard Richter, Six Gray Mirrors, 2003

Dia:Beacon

July 15th, 2019

All Eyes and Ears

Tal Streeter || Endless Column, 1968 || Painted steel
David Smith || Portrait of a Lady Painter, 1954/1956–57 || Bronze
Siah Armajani || Gazebo for Two Anarchists: Gabriella Antolini and Alberto Antolini, 1992 ||
Painted steel and wood
Anarchist # 1
Anarchist # 2
Alexander Liberman || Adam, 1970 || Painted steel
Louise Bourgeois || Eyes, 2001 || Bronze, silver nitrate patina, and electric lights
Mark Dion || Brontosaurus, 2016 (detail) || Mixed media installation
Ionic Columns, circa 1834, originally part of the Armstrong Mansion at Danskammer Point, New York

Storm King Art Center is a 500-acre outdoor museum located in New York’s Hudson Valley, where visitors experience large-scale sculpture and site-specific commissions under open sky. Since 1960, Storm King has been dedicated to stewarding the hills, meadows, and forests of its site and surrounding landscape. Building on the visionary thinking of its founders, Storm King supports artists and some of their most ambitious works. Changing exhibitions, programming, and seasons offer discoveries with every visit. [source]

Storm King Art Center, New Windsor, NY

July 13th, 2019

Mark Dion’s life-size cabinets of curiosities

Mark Dion
Bureau of Censorship, 1996/2019
Mixed media installation


Mark Dion
The Memory Box, 2016
Mixed media installation

Inside this shed are many little boxes, which visitors are invited to take off the shelf and open in order to discover the objects inside. ”I want to provoke a childlike curiosity and the anxiety of looking through your mother and father’s chest of drawers when they’re not home,” Dion has said, reflecting on the work.

Storm King Art Center, New Windsor, NY

July 13th, 2019

Square Space

Jennifer Bartlett
Rhapsody, 1975-76

When Rhapsody was first shown, in 1976, it occupied the entirety of the art dealer Paula Cooper’s Manhattan gallery space. Consisting of 987 one-foot-square steel panels covering an expanse of more than 150 feet, the work has an overall monumentality, but its small panels invite intimate interaction. Together they represent Bartlett’s attempt to create a painting “that had everything in it,” she has said.

Each of Rhapsody’s steel panels was baked with white enamel, silkscreened, and then painted. Its range of imagery—from photographic images to abstract shapes—presents a variety that undermines any sense of stylistic unity. “It was supposed to be like a conversation,” the artist has explained, “in which people digress from one thing and maybe come back to the subject, then do the same with the next thing.” Looking at Rhapsody is like listening in on this conversation. A viewer can step back and see the ebbs and flows, or come in close and engage deeply with a single topic, sentence, or line. [Source: MoMA]

June 16th, 2019

Urban Light

An assemblage sculpture of 202 vintage street light lampposts from the 1920s and 1930s, created by Chris Burden with the express intention to be placed in the empty plaza in front of the Los Angeles County Museum of Art, on Wilshire Boulevard. The cast iron lampposts range from 20 to 30 feet in height and were salvaged from Los Angeles neighborhoods. The installation is lit up from dusk to dawn and is solar-powered. Especially popular after dark, be prepared to drive a few rounds before finding a parking spot close enough.

Urban Light by Chris Burden, 2008.

LACMA, L.A.

May 7th, 2019