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Archive for the 'AO On Site' Category

New York – Nancy Rubins: “Our Friend Fluid Metal” at Gagosian Gallery Through September 13th, 2014

Sunday, August 31st, 2014

Nancy Rubins, Our Friend Fluid Metal (2014)/
Nancy Rubins, Our Friend Fluid Metal (2014)

Nancy Rubins has not been hesitant about creating mammoth works of art, as seen in her first public installation at a shopping center in Illinois in 1981 or her 1995 installation of salvaged airplanes at MoMA.  Exhibiting objects collected from thrift stores and and secondhand shops, the artist’s sculptural assemblages are charged with an eclectic energy.  Televisions, planes, surfboards, heaters and mattresses are just a few source materials transformed into complex structures, charged with tangible energy and an inexplicable resistance to gravity.  (more…)

New York – “Itself Not So” at Lisa Cooley Through August 29th, 2014

Thursday, August 28th, 2014

Aram Saroyan, Lighght (1989)
Aram Saroyan, Lighght (1989), All images are by Osman Can Yerebakan for Art Observed.

Aphasia, a brain dysfunction resulting in the failure of comprehension of language, is the starting point of Lisa Cooley’s summer group show Itself Not So.  Curated by staff member Rachel Valinsky, and titled after a poem by Susan Howe, the selection grabs this condition as a metaphor for the disconnect between mind and speech, examining the possible fractures causing intellectual and emotional failures regarding the self. The exhibition argues that, with the corruption of the harmony among sound, thoughts and speech, a possible chaos and detachment brings an individual’s functionality to a standstill. Both intellectual and emotional, social and biological, this turmoil challenges the autonomy of those inflicted. (more…)

New York – “The St. Petersburg Paradox” at Swiss Institute Through August 17th, 2014

Friday, August 8th, 2014

Sarah Ortmeyer, Sankt Petersburg Paradox (2014)
Sarah Ortmeyer, Sankt Petersburg Paradox (2014)

Among the decision-making factors in set expanse of time, risk plays a crucial part.  Simply described as the potential of losing an owned value upon a taken action, the risk element occupies a noticeable part in economic, social and political dynamics, aside from striking as a noteworthy reality to consider for individuals in the daily routine. The St. Petersburg Paradox, a group show on view at Swiss Institute through August 17th, observes this broad topic through a determined perspective, suggesting an alternative reading based on the reflection of risk elements in artworks.

St, Petersbug Paradox (Installation View)
The St. Petersbug Paradox (Installation View) (more…)

New York – Scott Benzel at Maccarone Through August 8th, 2014

Wednesday, August 6th, 2014


Scott Benzel, Counterfeit Nike ‘Heaven’s Gate’ SB Dunks (2011) Photo by Joerg Lohse

For the past several years, Arizona-born, L.A.-based artist Scott Benzel has been mining the mundane objects of capitalism and its reflection in the cultural agenda through his assemblage and display-based works, challenging the designated meanings of everyday objects as they enter into dialogue with each other. Approaching  simple and mostly utilitarian commodities as reflections of their collective or individualist identities, Benzel decodes dismissed or undiscovered subtleties in contemporary culture, and allows unspoken connections to come to the fore. (more…)

New York – “Duality of Existence: Post Fukushima” at Friedman Benda Through August 9th, 2014

Monday, August 4th, 2014

Yusuke Suga, Mediator, 2013 Courtesy of Friedman Benda and the artists
Yusuke Suga, Mediator (2013), Courtesy of Friedman Benda and the artists

The inarguable force of nature and its fearful destructive impact hit Japan in March 2011 during the Fukushima nuclear meltdown, afflicting millions of lives and causing billions of damage. The number one earthquake in terms of strength in the history of Japan and the fifth in world records, and its resulting tsunami left the coast of Japan reeling from its physical and psychological damage, particularly after the meltdown of three plants at Fukushima Daiichi Nuclear Power Plant.  Aside from the massive physical devastation it caused, the catastrophe carried charged memories and impacts to those who witnessed the disaster, either first-hand or indirectly. (more…)

New York – “Neu at Gladstone” at Gladstone Gallery Through August 1st, 2014

Friday, August 1st, 2014

John Knight, Work, in situ, Galerie NEU:MD72:Gladstone Gallery, (2013)
John Knight, Work, in situ, Galerie NEU:MD72:Gladstone Gallery (2013)

One of Berlin’s most notable galleries, Galerie Neu, is Gladstone Gallery’s guest for this summer, presenting a reflection from the German capital’s vibrant contemporary art scene. Known for its avant-garde art spaces and affordable living conditions for emerging artists, Berlin has been one of the most influential cities for the European art scene, and the selection at Gladstone Gallery, mainly focusing on the notion of place and displacement, gives the opportunity to catch up with the city’s recent art trends. (more…)

New York – “To do as one would” at David Zwirner Through July 25th, 2014

Wednesday, July 23rd, 2014

Charles Harlan, Pallets, 2013
Charles Harlan, Pallets (2013)

Seeking to understand the various materials and objects utilized in contemporary art To do as one would is on view at David Zwirner’s 19th street location this month. The exhibition, brought together by three staff members at the gallery, uses the full space provided to host a selection of works aiming to investigate the broad understanding of alternative materials as applied to various bodies of thought and execution. (more…)

New York – Danh Vo: “We The People” at City Hall Park and Brooklyn Bridge Park Through December 5th, 2014

Monday, July 21st, 2014

Danh-Vo-We-The-People-NYC-1
Danh Vo, We The People (2010-2014) at Brooklyn Bridge Park

This summer, Vietnamese artist Danh Vo is paying his homage to the Statue of Liberty as a symbol of American legacy with a group of installations on view at City Hall Park and Brooklyn Bridge Park.  From May 17th to December 5th, the public will be able to see We The People, a life-sized replica of the Statue of Liberty separated into 250 copper parts that Vo created using the same processes used on the original statue. (more…)

New York – “Fixing a Hole” Group Show at Koenig & Clinton Through August 2nd, 2014

Sunday, July 20th, 2014

Roman Signer, Flasche (Bottle), 2007
Roman Signer, Flasche (Bottle) (2007)

The summer season means a few things for the art world: beach installations, special projects in the Hamptons, and of course, group shows. During the hot summer months many galleries are presenting selections of works by different artists through various thematic ideas, giving gallery goers the opportunity to discover new readings between different artists’ works.  Among these galleries is Koenig & Clinton, hosting Fixing a Hole, a group exhibition investigating the notion of “fixing” in both meanings: mending what is broken and securing what is unstable. The tightly-curated selection focuses on a niche concept, making the occasionally challenging group show tradition an appealing one. Works in various mediums articulate the instincts of correction and stabilization of a dysfunctional case, arguing for the sensation of readjustment. (more…)

New York – Larry Clark: “they thought i were but i aren’t anymore” at Luhring Augustine Through August 1st, 2014

Thursday, July 17th, 2014

Larry Clark, Knoxville (homage to Brad Renfro), 2011 via Osman Can Yerebakan
Larry Clark, Knoxville (homage to Brad Renfro) (2011) all images via Osman Can Yerebakan

Currently on view at Luhring Augustine is a career spanning exhibition of Larry Clark, one of the most vocal representatives of the American youth since the early 60′s. Tulsa, the inspiration and the namesake of his infamous photography book, is where Clark began experimenting with photography at an early age with his mother’s camera, using his circle of friends as his object of interest.  Clark started to document the suburban lifestyle through the lens of a generation engaged with drug use, underage sex and violence. Adding further weight to the already graphic nature of his subject matter, the rawness and the honesty of Clark’s perspective as an insider’s point of view has marked him as one of the foremost voices in American photography. (more…)

New York – Carlito Carvalhosa: “Possibility Matters” at Sonnabend Gallery Through July 26th, 2014

Tuesday, July 8th, 2014

Carlito Carvalhosa, Possibility Matters (detail), 2014
Carlito Carvalhosa, Possibility Matters (detail), 2014

Carlito Carvalhosa’s works, similar to early Renaissance church paintings, have the potential to make viewers feel equally enclosed and daunted by scale. The artist’s installations look upon the viewers, asking their submission and surrender towards their magnitude in structure and constructive. Utilizing a broad range of materials in conjunction with his work’s scale and size, Carvalhosa’s practice includes wood, plaster, wax or glass in forms that seem challenging or exceedingly fragile to execute.  It’s this delicately immense style that Sonnabend Gallery is currently presenting with Possibility Matters, a two-room installation transforming wood columns into a room-sized piece in Carvalhosa’s hands. (more…)

New York – Kara Walker: “A Subtlety” at The Domino Sugar Factory Through July 6th, 2014

Thursday, July 3rd, 2014

Kara Walker, A Subtlety, 2014 via Osman Can Yerebakan
Kara Walker, A Subtlety (2014) all images via Osman Can Yerebakan for Art Observed

Since her debut at The Drawing Center in 1994, Kara Walker has been one of the most prolific American artists of African descent, delivering an ambitious oeuvre on the politics of race, gender and identity. As with contemporaries such as Lorna Simpson and Mickalene Thomas, who address similar subject matter, the artist has continuously mined history to reveal the untold micro-histories of those that are neglected and enslaved, reflecting on the representation of Black history in the U.S. and abroad. Her infamous cut-paper silhouettes narrating the stories of anguish and abuse in African-American history have earned the California-born, New York based artist a singular position in the contemporary art dialogue.

Kara Walker, A Subtlety (2014)
Kara Walker, A Subtlety (2014) (more…)

New York – Glenn Brown at Gagosian Gallery Through June 21st, 2014

Monday, June 16th, 2014

Glenn Brown, Cactus Land (2012), via Osman Can Yerebakan
Glenn Brown, Cactus Land (2012), via Osman Can Yerebakan

In his first solo show in New York in seven years, Glenn Brown delivers a large scale body of work, focusing on sculptural works besides his widely recognized paintings. Palatially spread across Gagosian Gallery’s twenty-first street location with an array of exuberant colors, Brown’s selection of artistic references in this exhibition include nods to Rococo, Baroque and Mannerist techniques, alongside the likes of Frank Auerbach and Pieter Bruegel. (more…)

New York – Jayson Musson: “Exhibit of Abstract Art” at Salon 94 Bowery Through June 21, 2014

Sunday, June 15th, 2014

Jayson Musson, Sculptural Allegory for a Specific Cultural Sphere (2014), via Osman Yerebakan
Jayson Musson, Sculptural Allegory for a Specific Cultural Sphere (2014), via Osman Yerebakan

Jayson Musson first came into prominence with his online personality Hennessy Youngman, a character commenting on different topics related to art from a wry perspective, while satirizing the clichés of the art world and the hip-hop culture at the same time.  Played by Musson himself for his Youtube series Art Thoughtz, Hennessy Youngman can be seen comparing the dance style of Yvon Rainer to the moves in A-Ha’s Take On Me video or flirting with Carolee Schneemann. Similar to Musson’s articles for his short-lived column Black Like Me on Philadelphia Weekly, his online persona/alter ego Hennessy Youngman is an outpost of the artist’s investigation of racial stereotypes and the making of sub-cultures in today’s society. (more…)

New York – Mika Rottenberg: “Bowls Balls Souls Holes” at Andrea Rosen Gallery Through June 14th, 2014

Thursday, June 12th, 2014

Mika Rottenberg, Bowls Balls Souls Holes (Bingo) (Installation View), via Osman Can Yerebakan
Mika Rottenberg, Bowls Balls Souls Holes (Bingo) (Installation View), via Osman Can Yerebakan

Mika Rottenberg’s artistic practice has long focused on the production methods and social schemes of contemporary work, orchestrating structurally perfect and visually playful videos in which actresses specifically cast for their physical looks twist the notion of productivity. Using meticulously planned and often vague plots, Rottenberg contemplates on the “nature” of making things in her videos, usually installed along with the pieces used in the production of the video.

Mika Rottenberg, Tsss Tsss Tsss (2014), via Osman Can Yerebakan
Mika Rottenberg, Tsss Tsss Tsss (2014), via Osman Can Yerebakan (more…)

New York – Lothar Baumgarten: “Los Aristòcrates de la Selva y la Reina de Castilla” at Marian Goodman Gallery Through June 14th, 2014

Wednesday, June 11th, 2014

Lothar Baumgarten, Los Aristòcrates de la Selva y la Reina de Castilla, (2011-2012), Courtesy of the artist and Marian Goodman
Lothar Baumgarten, Los Aristòcrates de la Selva y la Reina de Castilla (2011-2012), Courtesy of the artist and Marian Goodman

Currently on view at Marian Goodman Gallery is Los Aristòcrates de la Selva y la Reina de Castilla, a large scale exhibition by the renowned German conceptual artist Lothar Baumgarten. Known for his slide projections, site-specific installations and sound recordings in which he a range of different issues from international politics to institutionalization of the arts, Baumgarten is once again presenting a complex body of work at Marian Goodman Gallery. Carrying the idea of civilization into the core of his argument, the artist touches upon different representations of cultural identity and evolution of the mankind.

(more…)

New York – Meschac Gaba: “Exchange Market” at Tanya Bonakdar Gallery Through June 7th, 2014

Sunday, June 1st, 2014


Meschac Gaba, Exchange Market (Installation View) Courtesy of Tanya Bonakdar Gallery

Last July, the Tate Modern opened its doors for a special exhibition that went beyond the set norms and techniques of exhibition planning. Meschac Gaba’s Museum of Contemporary African Art was a special project expanding twenty years of work across two continents, accumulated and exhibited in the rooms of the London museum. Composed of twelve different spaces, the large-scale exhibition was an outcome of Gaba’s investigation of the arts in African countries while questioning the often problematic affair between African art and the decision makers of the art dynamic and markets of the West.

Meschac Gaba, Exchange Market (Installation View) Courtesy of Tanya Bonakdar Gallery

Continuing some of these thematics, Gaba is currently presenting his latest body of work at Tanya Bonakdar Gallery. As the title Exchange Market suggests, the content of the exhibition is distinguishably opinionated  regarding the global economic structures and the imbalance of labor against income for the vast majority of societies around the world. Hailing from Benin, Gaba has lived and worked in The Netherlands, and seizes on the issues surrounding the unfair distribution of wealth and the exploitation of the less privileged from a Non-Western point of view. This duality also ties to other oppositions such as First World versus Third World or Developed versus Underdeveloped, suggesting a breakdown of the separation between the powerful and the weak.

Downstairs at Bonakdar, Ten marketplace stands showcasing a wide range of symbolic objects  (hand tools, cotton balls, cacao beans, outdated or currently popular mobile phones) and banknotes from different countries attached onto umbrellas. Titled Bureau d’Exchange (Exchange Office), the ten-table installation presents devalued or still in use African currencies printed with multiple zeros, as well as certain Western banknotes with many fewer zeros. Reduced to sheets of paper hanging from the salvaged umbrellas, these banknotes make visually potent statements on the problematic connection between labor and income while discussing the disadvantaged political and economical structures around the globe, given no shade under these bare umbrellas.

Meschac Gaba, Exchange Market (Installation View) Courtesy of Tanya Bonakdar Gallery

Also on display on the first floor is a group of coin banks hung on the gallery walls. With their shapes inspired by famous bank logos or culturally potent figures, these banks do not serve for the common purpose of collecting money for charity or personal use; however they stand out as the silent emblems of a collectively desired utopian reality, ideally stemming from individual contributions.

Meschac Gaba, Exchange Market (Installation View) Courtesy of Tanya Bonakdar Gallery

The argument on collectiveness and global unity continues on the second floor where viewers are presented with four foosball tables, each made in Benin. Visually recalling the original Western pastime, the tables differ with their uncommon arrangements regarding the execution of the game. The soccer tables Gaba presents include players dressed in uniforms of different nations and players of markedly different races as opposed to generic and neutral players.

Meschac Gaba, Exchange Market (Installation View) Courtesy of Tanya Bonakdar Gallery

Meschac Gaba, Bureau d'Echange (Exchange Office), 2014 (Detail) Courtesy of Tanya Bonakdar Gallery

As components of a unitary operation, all connected to each other, players on these soccer tables stand out as the embodiments of current economical and social structures planned according to different goals and strategies. In one, for instance, a smiling, American flag-clad team is pitted against one bearing a uniform of pan-African identity.  The oppositions are striking.  From a more optimistic point of view, these players emphasize the artist’s statement on a utopian collective agenda that is solely accessible through a global awakening and realization.

Meschac Gaba: Exchange Market is on view at Tanya Bonakdar Gallery through June 7th, 2014.

— O.C. Yerebakan

Related Links:
Tanya Bonakdar Gallery [Exhibition Page]
Tate Modern [Exhibition Page]

New York – Jay DeFeo at Mitchell-Innes & Nash Through June 7th, 2014

Saturday, May 31st, 2014

Jay DeFeo, White Shadow, (1972)
Jay DeFeo, White Shadow (1972), via Osman Can Yerebakan

Jay DeFeo’s most seminal work in her career took eight years to be completed and weighs more than two thousand pounds. A monumental embodiment of extreme orientation to detail and experimentalism, this work of DeFeo has been the artist’s most recognized part of her oeuvre, but a year after her retrospective at The Whitney, the legacy of Jay DeFeo is growing in New York City, as Mitchell-Innes & Nash presents a body of fifty works spanning the years 1965-89.

Jay DeFeo, Tuxedo Junction, (1965-74) via Osman Can Yerebakan
Jay DeFeo, Tuxedo Junction (1965-74) via Osman Can Yerebakan (more…)

New York – Tunga: “From ‘La Voie Humide’” at Luhring Augustine Through May 31st, 2014

Saturday, May 24th, 2014

Tunga, Na Lua (On the Moon) (2014) via Osman Can Yerebakan
Tunga, Na Lua (On the Moon) (2014) via Osman Can Yerebakan

Crystals, sponges, glass vessels and ceramics are among an array of materials on view at the current exhibition of new work by Tunga at Luhring Augustine’s Chelsea location. During a career spanning over four decades, Tunga has presented a body of multidisciplinary work, finding inspiration in poetry, physics and alchemy to create intricate, symbolic work that presents a visual challenge to the viewer.  Marking the artist’s fifth collaboration with the gallery, From ‘La Voie Humide’  underlines the artist’s strong interest in a multi-disciplinary approach to art, comprising a large selection of mediums and undertones running throughout the body of the exhibition.

Tunga, Untitled (2013) via Osman Can Yerebakan
Tunga, Untitled (2013) via Osman Can Yerebakan (more…)

New York – Sherrie Levine: “Red Yellow Blue” at Paula Cooper Gallery Through May 23rd, 2014

Tuesday, May 20th, 2014

Sherrie Levine, Bird Mask (2014) via Osman Can Yerebakan
Sherrie Levine, Bird Mask (2014) via Osman Can Yerebakan

Paula Cooper Gallery is currently presenting new works by one of the most iconic artists of The Pictures Generation, Sherrie Levine. The artist has been reinterpreting the set notions of ownership and authenticity in creative work for more than 30 years, while simultaenously commenting on the canonization process of art history.  Inspired by the pioneer Constructivist Aleksander Rodchenko’s three panel monochrome from 1921, Levine’s new exhibition, Red Yellow Blue, refers to the reduction of a painting to its most minimalistic forms and fundamental colors.  One of the most notable artists of a generation engaged with appropriation and representation of consumeristic and media-centric production, Levine’s works in the exhibition investigate the essence of art-making, and its creative limitations with reference to certain precedents. Regarding art history as a circular form instead of a linear one, Levine goes back to the roots of art production to redefine set concepts on issues such as death and mysticism throughout the works on view. (more…)

New York – Dominique Gonzales-Foerster: “Euqinimod & Costumes” at 303 Gallery Through May 31st, 2014

Sunday, May 18th, 2014

Dominique Gonzalez-Foerster, Ludwig II (M.2062) (2013), via Art Observed
Dominique Gonzalez-Foerster, Ludwig II (M.2062) (2013), via Art Observed

Currently on view at 303 Gallery is French born artist Dominique Gonzales-Foerster’s exhibition, euqinimod & costumes. Being the artist’s first collaboration with the Chelsea gallery, the exhibition stands out as Gonzales-Foerster’s autobiographical investigation using clothes from her own wardrobe.

Dominique Gonzalez-Foerster, Euqinimod & Costumes (Installation View), via Art Observed
Dominique Gonzalez-Foerster, Euqinimod & Costumes (Installation View), via Art Observed (more…)

New York – Vik Muniz: “Album” at Sikkema Jenkins Co. Through May 10th, 2014

Monday, May 5th, 2014

Vik Muniz, Beach (Postcards From Nowhere) (2014) Courtesy of the artist and Sikkema & Jenkins Co., New York
Vik Muniz, Beach (Postcards From Nowhere) (2014) Courtesy of the artist and Sikkema & Jenkins Co., New York

Sikkema Jenkins Co. is currently presenting Album, an exhibition of recent works by Brazilian artist Vik Muniz. Known for his bold and attention-grabbing works which he creates by incorporating an array of materials such as garbage, chocolate and diamonds, Muniz uses familiar images from art history as well as the collective memory of contemporary culture to create powerful large-scale assemblages that pay direct tribute to the history of painting and sculpture in equal measure.    In this exhibition, the artist focuses on memory, both collective and personal, using photography itself as a production tool. Separated into two series, Postcards from Nowhere and the eponymous Album, the work allows Muniz to investigate how memory is an endless notion that is in constant flux.

Vik Muniz, Wedding (Album) (2013), Courtesy of the artist and Sikkema & Jenkins Co., New York
Vik Muniz, Wedding (Album) (2013), Courtesy of the artist and Sikkema & Jenkins Co., New York (more…)

New York — Sigmar Polke: Early Works on Paper On View at Michael Werner Gallery Through June 7, 2014

Saturday, May 3rd, 2014

Sigmar Polke, Untitled (Heron) (1966), via Michael Werner
Sigmar Polke, Untitled (Heron) (1966), via Michael Werner

Presented for the first time in almost twenty years, Sigmar Polke’s works on paper are currently installed at Michael Werner Gallery. Including a number  drawings that have never been exhibited before, Sigmar Polke: Early Works on Paper suggests a distinctive look at the German master’s less known drawings, ink compositions and sketched out ideas, through a collection of nearly a hundred works created by the artist in the 1960’s. (more…)

New York – Michelangelo Pistoletto: “The Minus Objects 1965-1966″ at Luhring Augustine through May 11, 2014

Sunday, April 27th, 2014

Michelangelo Pistoletto, Le orecchie di Jasper Johns (The Ears of Jasper Johns), 1966 via Osman Can Yerebakan for Art Observed
Michelangelo Pistoletto, Le orecchie di Jasper Johns (The Ears of Jasper Johns), (1966) via Osman Can Yerebakan for Art Observed

At the current Michelangelo Pistoletto exhibition The Minus Objects 1965-1966, on view at Luhring Augustine’s Bushwick location, what greets visitors is their own reflection, as a single piece from the artist’s signature Mirror Paintings series, sits at the entrance. But the exhibition looks deeper into Pistoletto’s work throughout his career, focusing on the artist’s sculptural objects created between 1965 and 1966.

Michelangelo Pistoletto, Sfera sotto il letto (Sphere Under the Bed), 1965-1966 via Osman Can Yerebakan for Art Observed
Michelangelo Pistoletto, Sfera sotto il letto (Sphere Under the Bed), (1965-1966) via Osman Can Yerebakan for Art Observed

Bringing together a wide range of industrial materials such as wood, metal, newspaper and plexiglass along with glass mirror, the work carries an individualistic structure and an independent content: Pistoletto, by placing them in an uncommon harmony, orchestrates a coherent body of work composed of, in many ways, unrelated works.  Structures underlining a hybrid combination of contrasting materials create a bridge between different techniques. For example Scultura Lignea (Wood Sculpture) includes a classically styled wooden sculpture, erected inside an orange-colored plexiglass case. Letto (Bed) on the other hand, is an assembly of wide ranging materials including glass mirror, velvet, wood and iron that Pistoletto culls together to render the domestic symbol.

Michelangelo Pistoletto, Scultura lignea (Wood Sculpture), 1965-1966 via Osman Can Yerebakan for Art Observed
Michelangelo Pistoletto, Scultura lignea (Wood Sculpture), (1965-1966) via Osman Can Yerebakan for Art Observed

Another noteworthy element in the exhibition, as its title suggests, is absence. Pistoletto’s work here puts a strong emphasis on the invisibility or the disappearance of certain components of his work to create a flowing dynamic within the piece itself. Parts that were there but now gone, or parts that never existed encourage viewers to elaborate on these missing elements. Le orecchie di Jasper Johns (The Ears of Jasper Johns) for example, is a torn photograph of artist Jasper Johns, missing the whole middle section, and in turn showing only his ears, an interesting rumination on the interplay between fame and intellect in the contemporary artist. Bagno (Bath) is a fiberglass bathtub that has the scooped out silhouette of a human being inside. Giving an impression of a departed guest inside the bathtub, the silhouette carries an intangible mystery along with a sense of wicked humor.  Pistoletto’s irony-inflected wit is also evident in works such as Rosa bruciata (Burnt Rose) which is a spray-painted, corrugated piece of cardboard curled to give the impression of a giant burnt rose.

Michelangelo Pistoletto, Rosa Bruciata (Burnt Rose), 1965 via Osman Can Yerebakan for Art Observed
Michelangelo Pistoletto, Rosa Bruciata (Burnt Rose), (1965) via Osman Can Yerebakan for Art Observed

The act of subtraction is always at play here, examining Pistoletto’s reductive impulses at the heigh of Arte Povera, and his ongoing interest with the potential for the artist’s hand in contemporary practice.  The Minus Objects 1965-1966 is on view through May 11, 2014

Michelangelo Pistoletto, Ciak Azzurro, 1962-2007 via Osman Can Yerebakan for Art Observed
Michelangelo Pistoletto, Ciak Azzurro (1962-2007) via Osman Can Yerebakan for Art Observed

Michelangelo Pistoletto, Bagno (Bath), 1965-1966 via Osman Can Yerebakan for Art Observed
Michelangelo Pistoletto, Bagno (Bath) (1965-1966) via Osman Can Yerebakan for Art Observed

—O. C. Yerebakan

Related Links:
Exhibition Page [Luhring Augustine]