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. Big Black Objects
This is the last post from the New York fairs. It seems I've saved the brightest for last. To be honest, I wasn't aware of the amount of physical (and retinal) resplendence on exhibition in the various venues until I started sorting through the images. I've even included a few works that weren't in the fair but that were shown in town during the same period, like the enormous sculpture that illuminated the darkened space of the Mary Boone Gallery, above and below. There's no formal theme here except luminosity, which, when you consider the range of ideas and objects on display during those four days at the end of March, is enough of a thematic concept. Do I love everything here? No. But I like seeing it all together.
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. . . I particularly liked looking into the structure of the piece, which suggested something like an interstellar array
Armory Show: Two views of a sculpture from Galleria Massimo De Carlo, Milan
The vertigo of this piece is exquisite, but the reality is that it's about four inches deep
The long entryway into Pulse
Pulse: Tim Bavington at Mark Moore Gallery, Santa Monica
The high-wattage luminosity is purely optical, both above and below:
Armory Show: Pedro Cabrita Reis, The Leaning Paintings #4, at Magazzino d'Arte Moderna, Rome
Armory Show: John Armleder at Galleria Massimo De Carlo, Milan
Armory Show: Martin Creed at Hauser & Wirth, Zurich/London
And this about sums it up
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1 comment:
The John Armleder at the Armory show may be the love child of Morris Louis and Pat Steir but I agree with you that it certainly holds its own.
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