Art That’s Big Because it Needs To be Big

mauri — Thu, 26 Jun 2014 09:00:44 +0000

Carsten Nicolai’s installation Unidsiplay presents the possibility of an infinite screen. Moving dynamically in an engulfing array of abstract shapes, the viewer is welcome to lose oneself within the screen. Sound familiar?

Richard Serra, 2000, 2000. Weatherproof steel. Courtesy of Dia:Beacon.

Richard Serra’s more recent corten steel works are designed to solicit a visceral reaction. Their sheer size and imagined weight serving to emotionally flatten the viewer while at the same time setting our survival instincts all a-tingle. Fight the urge to run.

James Turrell, Roden Crater, 1979-2011. Courtesy of the artist.

James Turrell’s Roden Crater presents a viewing experience not only massive in scale and a long time in the making, but an experience that serves to create a relationship between the viewer and the passing of heavenly bodies. Plus, it’s in the middle of the desert. Road trip, anyone?

Carsten Höller, Vitra Slide Tower, 2014. Courtesy the artist.

Carsten Holler has long been a fan of weightlessness. He has installed slides in many of his exhibitions and has gone so far as to present an apartment building model where slides are the main form of transportation from top to bottom. This new towering outdoor slide work looks very inviting and almost too playful.

Ann Hamilton, The event of a thread, 2012. Photo Credit: Kemi Ilesanmi. Courtesy of the artist.

Ann Hamilton knows a little something about fun art as well. Let’s not forget how mesmerizing recent work at the Armory was. The gorgeous shimmering of this giant white veil compounded by our own back-and-forth motion as we enjoyed the swing left us speechless. We still have goosebumps.

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Summer of Photography at Carolina Nitsch Project Room

mauri — Thu, 18 Jul 2013 08:00:46 +0000

Summer of Photography at Carolina Nitsch Project Room hosts a conglomeration of images depicting the idiosyncratic, sexualized, and commodified America of the 20^th and beginning of the 21^st centuries. It features photographs by iconic, world-renown artists such as Ed Ruscha, Cindy Sherman and William Eggleston. An assortment of white frames in varying dimensions is masterfully arranged within a small space plastered with an aquamarine blue hue. The inconsistent size of the images grants each photograph even prominence, as none overpowers the room, but rather each harmoniously and rhythmically balances the other. This peak-trough orchestration mimics the movements of the ocean, diffusing an atmosphere of curiosity and exploration across the space. The photographs encompassed are optically as vivid as is their visual content; bright colors complement images of the deranged physicality and peculiar beauty that is the authentic American experience. Specifically, sexuality is emphasized as both a suggested and literal vehicle to strip the nation down to her elements- elements that are both intentionally and ironically manipulated into patterns via symmetry and repetition. Hereby, even the eccentric, queer subject becomes a commodity. As such, this beautifully curated selection represents a set of artists whom are mutually iconoclasts and leaders; burners and authors; rebels and, well, conventionalists.

by: Arianne Milhem

Summer of Photography
July 12 -September 21, 2013
Carolina Nitsch Contemporary Art
534 W 22nd St. NYC
carolinanitsch.com

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NY Arts Magazine » Carsten Hoeller

Art That’s Big Because it Needs To be Big

Summer of Photography at Carolina Nitsch Project Room