Saturday, June 30, 2018
Deborah Hede "SLINKY" @ Shoot the Lobster | Los Angeles
L to R (Top to Bottom):
Curb Schematic, 2010
graphite, charcoal, pastel and enamel on paper
26 x 19 inches
Meridian, 2010
graphite, pastel and enamel paint on paper
26 x 19 inches
Double Transport, 2009
graphite, pastel and enamel paint on paper
26 x 19 inches
Displaced Geometries, 2008
graphite, charcoal and pastel on paper
26 x 19 inches
Sequential Curb, 2010
graphite, pastel and enamel paint on paper
26 x 19 inches
Maria Thereza Alves in "Bounty" @ Grice Bench
Utopia: A Phototext, 1984-2018
Set of 4 inkjet prints, edition 1 of 2; 1 AP,
each 20 1/2 x 16 1/2 in. (framed)
Reena Spaulings "The Male Gates" @ Matthew Marks | Los Angeles
Medusa 3, 2018
Acrylic and oil on linen
66 x 50 inches; 168 x 127 cm
Gate 1 and 3, 2018
Enamel paint on security gate
87 x 32 x 23 inches each
Gate 3, 2018
Enamel paint on security gate
87 x 32 x 23 inches
Gate 1, 2018
Enamel paint on security gate
87 x 32 x 23 inches
Gate 4, 2018
Enamel paint on security gate
87 x 32 x 23 inches
Seascape, 2014
Farrow & Ball’s Estate Emulsions on canvas
120 x 336 inches; 305 x 853 cm
Medusa 7, 2018
Acrylic and oil on linen
66 x 50 inches; 168 x 127 cm
Medusa 1, 2018
Acrylic and oil on linen
50 x 78 inches; 127 x 198 cm
Saturday, June 23, 2018
Saturday, June 16, 2018
Katie Grinnan "Electric Data Wave Serenade" @ Commonwealth and Council
SIDE ROOM:
Electric Data Wave Serenade/Dissolving the Rock, 2017-18
Three-channel video installation
Dimensions Variable
Channel 1 of 3:
stills from HD Video, color, sound
TRT: 13 minutes
Cast body sleeping with Friendly Plastic and sand, nylon fabric, gator board, grommets
Approx. 44 x 58 x 13.75 in
Earthquake Performance, 2018
Aggregate of Friendly Plastic and earth from Death Valley
Approx 30.5 x 60 x 27 in (77.5 x 152.4 x 68.6 cm)
Channel 2 of 3:
still from HD Video, color, silent
TRT: 5 minutes, 19 seconds
Channel 3 of 3:
stills from HD Video, color, sound, 5 min, 19 sec, cast resin rock molded from a rock in Topanga Canyon, projector, speakers
Approx. 13 x 30 x 24 inches
MIDDLE ROOM:
Data-Mind Geo-Phonics, 2018
CNC'd wood data fragment, PLA plastic data fragments, Bronze data fragment, wood, paint, wooden mallet
Road Trip Interpolation, 2017-18
Sculpture with video
Dimensions overall: 48 x 70.5 x 136 inches (121.9 x 179 x 345.4 cm)
Single-channel HD video, color, sound, 5 min 22 sec
Animation traveling through EEG date of 5 seconds of dreaming
and
Cast resin rock molded from a volcanic rock in Death Valley, projector, speakers
Approx. 11.5 x 27 x 16 in (29.2 x 68.6 x 40.6 cm)
and
Wall cast from a CNC'd interpolated image of a rock from Zabriskie Point, aggregate of Friendly Plastic and earth from the same rock at Zabriskie point
Approx. 48 x 70.5 x 20 in (121.92 x 179 x 50.8 cm)
5 Seconds of Dreaming (aggregate), 2017-2018
Cast aggregate molded from a 3D printed landscape derived from 5 seconds of EEG date made of resin and sawdust from CNC's data fragment, sand, enamel paint, welded steel, spray paint
Approx. 60 x 96 x 96 in (152.4 x 243.8 x 243.8 cm)
Like the last show of Katie Grinnan's that I saw at LA><ART in March of 2016 (see here), the elements of the installation were challenging to parse. That said, this exhibition seemed to clarify significantly more so how layers interact and reflect one another between material and less tangible conditions, namely energy waves as it applies to earth, human body, motion, and how things become other things, or at the very least reflect one another. cf. How earth samples bear striking resemblances to body surfaces, wave contours, and even digital imagery, organic irregularities all!
Body, mind, matter and technology are certainly integrated as one matrix within this installation. How is not exactly clear and the checklist does not exactly help, as the overlapping and layering effects of works persist to the dismay of any kind of linear check-listing. This, in my opinion, is an important value of this work, that things relate and are not always what they seem though strongly connected, certainly structurally. While the viewing experience and the checklist are at odds, it in no way compromises the value of the primary viewing itself. Navigating with uncertainty as a viewer somehow aligns with the video subject who navigates wavy mountains or occasional, visual delays with the sculpture which moves in parts like actually seeing rates of digital decay, the rise and fall of actions.
Having built a conversation surrounding the analog and the digital, the wave and the step, the contour and momentary sample, this installation/installations evolves what I was seeing previously within such terms in Grinnan's work. To show you what I mean, I thought about the following ones, how they simultaneously/continuous (virtually contiguous?) situate with one another, both stacked and extended.
Nocturnal Hologram, 2015
Sand, Friendly Plastic, inkjet prints on protoplast made from photograms of dream images
48 x 63 x 46 inches
@LA><ART
Mirage, 2011
Friendly plastic, enamel, and sand
79 x 63 x 72 inches Installation
View at the Hammer Museum, 2013 | Photo: Brian Forrest
Shipwreck, 2003
Photos on foam, cellpaint, enamel, and dirt
82 x 38 x 87
@ Armory Center for the Arts
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