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David Altmejd - Andrea Rosen Gallery


Adrian Villar Rojas

Wednesday, October 14, 2015

Adrián Villar Rojas excels at site-specific works that oscillate among historical, symbolic and spatial effects. One brought him wide attention when he represented Argentina at the 2011 Venice Biennale. Since then, he has become a staple at these large international exhibitions. Working mostly in situ in cast concrete with a team of assistants, he may have single-handedly made a complement of “festivalist art,” originally a pejorative coined for the grandiose installations of such shows.


Emphasizing space over objects, Mr. Villar Rojas’s first solo in a New York gallery transforms two large spaces into abandoned sites. Using only natural light, he has covered the entire floor with cast-concrete tiles (made individually with a jeweler), and all walls and windows with pale, full-length drapes.



The gallery’s north space is redolent of an abandoned theater or ballroom. The geometric patterns of the black, white and gray tiles also evoke a sad, emptied-out fashion showroom or a fancy store that could easily have preceded this very art gallery. A dark area of concrete mixed with earth might once have been occupied by a sales counter, but could also be a yard of packed earth. All kinds of detritus embedded in the tiles — leaves, pebbles, iPods, sun-faced Argentine coins, shattered glass, plastic bags — imply different forms of decay and neglect.


The south space feels less grim, more Mediterranean, like a crumbling terrace. The tiles ebb and flow among blues and grays, like bodies of water or the sky; bicycle tires and rope break their surfaces. The light, changing throughout the day, improves. A fallen statue here turns out to be Michelangelo’s “David,” reimagined as a reclining nude (and 18 inches taller than the original). He rests on two high, narrow bases that raise him disconcertingly to eye level. His sex is obscure; he merges the figures on Michelangelo’s Medici Tomb — the male Dusk and the female Dawn — and is more asleep than either. You may also be reminded of Aristide Maillol’s reclining bronze female nude, “The River,” in a similar pose, facing the same direction a few blocks south in the garden of the Museum of Modern Art. 

—by Robarta Smith — Sept 26 , 2015, Friday NYTimes

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Anish Kapoor at Regen Projects

Tuesday, February 10, 2015

“A series of monumental works feature organic, terrestrial forms made from resin and earth. In contrast to their raw, earthly matter, a series of highly polished stainless steel sculptures reflect and refract an illusion of the world onto their mirrored surfaces and confound the viewers’ relationship to the space around them. Similarly, several monochromatic voids appear to float on the gallery walls, their concave interiors play with the viewers’ perception of surface and depth and create the illusion of infinite space reflected in their void like interiors.” (from the press release)




Tunnelling Shadow (2014), resin and earth, 313 x 330 x 130 cm.

Tunnelling Shadow (2014), resin and earth, 313 x 330 x 130 cm.




Gold Corner (2014), fiberglass and gold, 63.5 x 63.5 x 63.5 cm.

Gold Corner (2014), fiberglass and gold, 63.5 x 63.5 x 63.5 cm.



Untitled (2013), stainless steel, 292 x 202 x 38 cm.

Untitled (2013), stainless steel, 292 x 202 x 38 cm.


Sophie Crumb & Aline Kominsky-Crumb at DCKT Contemporary

Tuesday, October 14, 2014

This show presents recent drawings by the two artists, marking the first time mother and daughter have exhibited together.


“Ms. Kominsky-Crumb has been an artist since childhood…Inspiration seems to come from comics, caricature, German Expressionism, and the “Real Housewives” franchise of cable television infamy… [Ms. Crumb] copies photographs from fashion magazines with results that call to mind the slightly distorted, definitely unsettling realism of the Neue Sachlichkeit (New Objectivity) artists of Weimar, Germany.”
—Roberta Smith, “Sophie Crumb and Aline Kominsky-Crumb,” New York Times, 18 September 2014



Sophie Crumb, Models (2013), watercolor and ink on paper, 14 x 10 3/4 inches.


Aline Kominsky-Crumb, Lemon Tree Very Pretty (2011), colored pencil, ink, glitter, mixed media and glue on paper, 17 x 14 inches.


BOO-HOORAY: Born in the Bronx

Friday, August 8, 2014




In 2007, the Cornell Hip Hop Collection was established through a foundation gift from Johan Kugelberg, who donated his collection of materials that he’d gathered for the 2005/2006 traveling exhibition “Born in the Bronx – A Visual Record of the Early Days of Hip Hop” and the 2007 Rizzoli publication of the same name. The archive was announced at a Cornell-hosted global hip hop symposium in 2008. In the years since, the Cornell Hip Hop Collection has grown to be the largest archive of historical hip hop materials in the world, spanning over four decades and over 200,000 objects including artwork, sound recordings, ephemera, posters, flyers, clothing, and photography.


Chris Burden

Thursday, October 3, 2013



Chris Burden, Through the Night Softly, Main Street, Los Angeles, California: September 12, 1973


Chris Burden, 1 Ton Crane Truck, 2009. Restored 1964 F350 Ford crane truck with one-ton cast-iron weight, 14 ft × 22 ft 10 in × 8 ft (4.2 × 6.9 × 2.4 m). Courtesy the artist and Gagosian Gallery


Chris Burden, L.A.P.D. Uniforms, 1993. Wool serge, metal, leather, wood, plastic, 88 × 72 × 6 in (223.5 × 182.8 × 15.2 cm) each. Collection: Marion Boulton Stroud, Philadelphia; and Collection: Fabric Workshop and Museum, Philadelphia. Photo courtesy of Fabric Workshop

Egan Frantz — < Billecart – Salmon rosé bubbles no. 1, 2012

Tuesday, May 21, 2013

Artist’s champagne bottle, pvc bucket, pvc hose, aluminum composite ring
with pigmented cheesecloth, electric air pump, brass
conduit and distilled water
Dimensions variable