Still Thinking About…: A Roundup

Caillebotte and Monet at the Santa Barbara Museum of Art’s ongoing exhibition Degas to Chagall: Important Loans from the Armand Hammer Foundation. Um, hello Hammer frames.

Mel Bochner’s wordy self-portrait at the Jewish Museum.

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Mel Bochner, Self/Portrait, 2013.

Also at the Jewish Museum: Repetition and Difference. Archival, contemporary, thoughtful, pretty damn brave.

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Left: Amalia Pica, Stabile (with confetti) (detail), 2012. Paper and transparent adhesive tape. Courtesy the artist and MARC FOXX, Los Angeles. Photo: Robert Redemeyer, 2013. Right: Spice Containers, anonymous artist. Poland and Russia, 19th century. Silver. The Jewish Museum, New York. Gift of Harry G. Friednman, and the Rose and Benjamin Mintz Collection.

Anthony Discenza and Peter Straub‘s maddening installation about “the obscure 19-century artists’ movement known as Das Beben” at the Contemporary Jewish Museum. I read through it, paused, went back to the beginning, sat down for a bit, smiled, frowned, and then watched a few other people do the same. We all discussed, and then agreed that there is a 90% chance that Das Beben is not real. But I still don’t know. I still. Don’t. Know.

 

Josh Greene’s Bound to Be Held: A Book Show, also at the Contemporary Jewish Museum. (These Jewish museums, man!) So cozy. So right up my alley.

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Installation view of Bound to Be Held: A Book Show. Photo by Johnna Arnold.

Power and pathos at the Getty, obvs.

Victorious Athlete, “The Getty Bronze,” 300-100 B.C., bronze and copper. The J. Paul Getty Museum

Creamsicle-colored plaster surrogates at MOCA.

Allan McCollum, 60 Plaster Surrogates (No. 3), 1982-1990, enamel on hydrostone, Museum of Contemporary Art, Los Angeles

Toshio Shibata’s giant, textured photos of the built landscape at PEM a few years ago.

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Toshio Shibata, Kurioso City, Tochigi Prefecture, 1989

Rebecca Baumann’s colorful, emotional roller-coaster of a clock. (And the rest of Baumann’s practice, which I wrote about here.)

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Rebecca Baumann, Automated Color Field (2011), 100 flip-clocks, paper, 130 x 360 x 9 cm, 24 hours. Photography: Andrew Curtis. Originally commissioned by the Australian Centre for Contemporary Art for NEW11

…AND the entire Color Fields show at the Bakalar & Paine Galleries last year. My first time touching art! Profoundly impactful. Profoundly fun.

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Sonia Falcone, Campo de Color, 2015.

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