Robert Mangold (1937) is an american minimalist artist. See more of his work here.
This is a series of phone photographs from a visit to Galerie Perrotin in Paris.
Both the Statue of Liberty “Fredom Fries”, 2013 and the Hello Kitty “Maze 62″, 2013 on the background are the work of Michael Sailstorfer from the series “Freedom Fries am Arbeitsplatz”. In an interview with the gallery, Michael says: “Freedom Fries am Arbeitsplatz” might be read as a 2013 reflection on Joseph Beuys political ideas and where we see us today.”
Elevator Doors is part of the gallery permanent collection. I could not believe when I saw that the little doors would even open and close. I loved it!
Looking outside of the window.
“actualités de la peinture” by Claude Rutault
“Dear” by Sun Yuan & Peng Yu. The sculptures above are called “Teenager Teenager” 2011, Performance, canapé, pierres / Performance, sofa, stones
The gallery is divided into two different buildings one next to the other. Through this small door above you would exit the main building to the other. From the inside of the building you walk through a hallway, low sealing, then you see this small door thinking what is behind that door and when you open it, boom…you are outside…kind of lost, kind of surprise, kind of happy…loved it too!
The work of Cynthia Daignault who is currently showing at Lisa Cooley gallery in NYC.
Dear So and So and So and So.
I want to tell you something. Something important. I want you to know that I made this for you. About you. Because of you. Even though you are not here. The premise is the distance. The shape of air between two bodies. The compaction of time. The unreality of space. The permeability of absence. The interchangeability of sun and shadow. I am with you. I project myself. Also I return. The premise is distance. The distance between two bodies. The leaving. That one leaves, yet is never gone. I am with you. I know how it is. You leave. I leave. He left. She left. Even now I am leaving. Resolving into dew. The premise is the sky. That I look up at the big sky. The same sky. The sheltering sky. The clouds that float above us in the space between nothing and less nothing.
I want to tell you something. Something important. Will you read this? Are you reading it now? When is now? Where is we? What is the difference between presence and past? This was the first year. This is the first year. This will be the first year. Just as you looked I looked. Just as you. I. I am not waiting. I am watching. I see the gathering twilight. I hear the sparrow on the sill. Such a short time to be here. I am not watching. I am waiting. Marking time. You are not coming back. I’ve been staring at the sky for so long. You are not coming back. I set the dish of milk out for you. You are not coming back. You never left. You were never here. I am trying to tell you something. That this is about you. That it will always be about you. Even when you are not here.
I love you more than one more day.
**All images and italicized text are from www.lisa-cooley.com
The work of Francesco Igory Deiana who is currently showing at The Popular Workshop in San Francisco.
**All images are from neverendingstruggle.com
Chen Chen and Kai Williams are a collaborative design duo based out of New York City. They opened their design studio in 2011 where they create art objects and installations. To see more work and visit their online shop go here.
Judith Seng investigates our contemporary culture and its materialized manifestations. Her works are poetic yet analytical and span the field between research, experimentation and creation of objects and spaces. -Artist Website
The work of Eva Berendes.
**All images are from evaberendes.com
The work of Erwin Bechtold.
**All images are from kunstgaleriebonn.de
The work of Lilah Fowler.
**All images are from www.lilahfowler.com
Romer Young Gallery is pleased to present its first solo exhibition with Milan artist Alice Cattaneo, Nothing quite flat and more round. There will be an opening reception for the artist this Friday, September 6, 6-9pm.
For this exhibition, Cattaneo will exhibit a new series of sculptures generated during her residency at the gallery this summer. The site sensitive, loose arrangement of works is organized in the space following a circular and invisible pattern. Subtle to the viewer, the design of this imaginary architecture within the gallery space takes into consideration a rigorous yet imperfect geometry coupled with a (colorful) sense of playfulness.
“I think of a Picasso’s maquette for a monument dedicated to Apollinaire that was never realized. The geometrical structure was photographed in the artist’s studio next to a long table with ceramic heads and all sort of figurative elements. There was a fascinating gap between the imaginary monument, the actual model in the studio and the stuff on the table. I tried to organize the sculptures in the space of the gallery considering these gaps and invisible patterns that create relationships between things.”
As with much of Cattaneo’s work, the sculptures are inspired by, and directly respond to their environment. Using an economy of gestures and common materials such as scotch tape, balsa wood, pastel, wire, foam board, cable ties, iron netting, the provisional sculptures balance against the walls, rest on the floor, hang from the ceiling, slightly “altering the perception of the room. The sculptures are assembled holding each other and challenging, to an extreme limit, their equilibrium…defining an apparent frangible place.”
The artist writes: When I first start working in a space I try to activate it by bringing materials that require movement like big pieces of cardboard or sticks of wood, and quickness like masking tape or cable ties. Then I try to follow a sort of system of selection through which forms come out and then are relocated into the physical work. It is not about memory but rather about a repetitive process that involves doing and undoing, making and remaking, the appearing and disappearing of forms.
Ephemeral, fragile, and simple in their immediate reception, the constructions command a spatial presence and complexity that is counterintuitive to that which their low-tech materials and physical weight suggest.
**All images and text from romeryounggallery.com