Alex Calder

Kiki de Montparnasse (II), 1930

Wire

12" x 10 7/16" x 13 9/16"

Untitled, 1938

Wood, wire, sheet metal, string, and paint

81" x 96"

Red Frame, 1932

Sheet metal, wood, wire, and paint

35" x 30 1/4" x 26 1/2"

Umbrella Light, 1928

The Art of Nothing at the Pompidou

Roman Ondak's 'installation' More Silent Than Ever is on show at the decidedly uncluttered Paris gallery this week

Peter Coffin at the Barbican

The latest installation in The Curve is by New York- based artist Peter Coffin. In this, the ninth new commission, Coffin explores various models of perspective and challenges the way in which we perceive space. In his sculptures, installations, photographs and videos, Peter Coffin examines our knowledge and interpretation of the world with curiosity and wit, borrowing from numerous disciplines, such as art history, science and New Age beliefs to test his ideas about the way things work and exist.

Sol Le Witt at MOMA 12 Crayons

Photodimensional at MOCA

Laurent Millet, Les Vacances, Dusseldorf, 2006, Courtesy of Robert Mann Gallery, New York

Florian Slotawa, Hotel Europa, Prag, Zimmer 402, Nacht zum 8. Juni 1998, Gelatin silver print, Courtesy Sies + Höke, Düsseldorf

Pello Irazu, La Fábrica (Belgrado) VI, 2007, Courtesy Yancey Richardson Gallery, New York

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Work by: John Coplans,Katalin Deér,Leslie Hewitt, Bettina Hoffmann, Pello Irazu, David Ireland, Melinda McDaniel, Heather Mekkelson, Laurent Millet, Vik Muniz, Susana Reisman, Lorna Simpson, Florian Slotowa
The experience of sharing a space with an object (and being able to move around it), and the experience of seeing that object represented and embedded in another object—a flat photographic print—are very different. But do we always experience the photographic image as absolutely flat? Isn’t it the tension between the flatness and the illusion of space in photography—its fidelity to the real—the very thing that makes it compelling, possibly troubling? Photography clearly allows us to imagine space. So is there a strict distinction between phenomenological space and imagined space, and how unambiguous, or understandable for that matter, is the difference between the two experiences?

To Illustrate and Multiply: An Open Book | MOCA

To Illustrate and Multiply: An Open Book examines how sequencing, a characteristic of time-based media, manifests itself in various ways within artists' books.

To Illustrate and Multiply: An Open Book examines how sequencing manifests itself within artists’ books, highlighting a diverse range of conceptual strategies and formal processes. The exhibition constitutes the first large-scale museum survey of artists’ books in Los Angeles since 1978, presenting work by a range of artists, from emerging artists who have begun to experiment with this genre to established artists who view bookmaking as an integral part of their practice. Borrowing its title from a limited-edition ’zine by Raymond Pettibon, To Illustrate and Multiply: An Open Book presents many different book forms, some with corresponding wall-mounted works that suggest the relationship of books to other aspects of an artist’s practice.

The Space In Between : Making a Book

Elijah Gowin, The Making of Maggie, 2001

Laurent Millet

Les Zozios, Petits Rouges, 2004

Les Zozios, Bulle Dure, 2003

Les Zozios, Maman, 2004

Les Zozios, Rotheneuf, 2004

Les Zozios, Plo, 2004
20 x 24 inches / edition of 20
chromogenic dye coupler print

Les Zozios is a series of photographs of sculptures which Millet quickly assembles from objects found in his home. He approaches the work with spontaneity, taking no more than ten minutes to complete and photograph each piece. His delight in shape and color brings to mind the works of Joan Miró and Cy Twombly. Millet compares the lines of his sculptural creations to a skeleton, and suggests that the act of photographing grants it life.

The lightness of Les Zozios is a departure from Millet's earlier work, whereas Monolithe continues his exploration of complex sculptural installations built and photographed against an abstract shoreline. As the title indicates, the subjects are massive black structures which are at once impenetrably solid and yet oddly transparent, like doorways through which the viewer might step.

When Laurent Millet's first solo exhibition opened at Robert Mann Gallery in 1999, Margarett Loke of The New York Times praised his "unabashed, almost innocent delight in the low-tech, magical interactions between man and nature." Millet's work is included in public collections at the Los Angeles County Museum of Art, the Art Institute of Chicago, the San Francisco Museum of Modern Art, and the Bibliothèque Nationale de Paris. In 2002, he was among the artists profiled in Lyle Rexor's book Photography's Antiquarian Avant-Garde: The New Wave In Old Processes.

Sarah McKenzie | Building Code

Interior 2, 2009, oil and acrylic

Interior 3, 2009, oil and acrylic

McKenzie paints buildings in various states of construction, playfully referencing geometric abstraction and twentieth century Modernism. She applies paint to the canvas in ways that often break the unity of the image. The effect is perplexing but informative; her process parallels construction and her surfaces encourage the viewer to compare the structure of the paintings with the frames of the buildings she is painting. The gallery's founder, Jen Bekman, first viewed McKenzie's work at the Walker Museum's opening reception for its traveling exhibition, World's Away: New Suburban Landscapes. About first seeing the work, Ms. Bekman noted:

At first glance it seemed photorealistic, in part because it reminds me of the ground well trod by many of my favorite fine art photographers. But look closely and it's clearly not quite real -there is a flatness in both her paint and perspective that has the primitive feeling of folk art. Take that flatness in and allow yourself to focus on the lines, angles and grids of her work; suddenly you're fully immersed in geometric abstraction, a la the twentieth century Modernists. The familiarity of the subject matter allows me to travel through these genres with ease.

Worlds Away, a traveling exhibition, will open at the Yale School of Architecture in March 2009. Her work has been exhibited at institutions throughout the country, including the Boulder Museum of Contemporary Art, the Bemis Center, the University of Akron, and the Katonah Museum of Art. McKenzie’s paintings have been featured in New York Times articles by Grace Glueck and Allison Arieff, as well as in Art in America, Dwell, The Miami Herald, Pittsburgh Post-Gazette, and The Denver Post.
 

Building Code is at Jen Bekman Gallery, 6 Spring Street, NY, New York

John Divola : the Abstract and the Specific

Zuma Series (folder one) / b Zuma F

John Divola
1977

Vandalism Portfolio / DSCN0550
John Divola
1974 / 93

Diptychs / Untitled, 83DPT01
John Divola
1983

Silhouttes / C
John Divola
1983-85

Five Prints Portfolio / B - House
John Divola
1987

John Divola works primarily with photography and digital imaging. While he has approached a broad range of subjects he is currently moving through the landscape looking for the oscillating edge between the abstract and the specific.

Jack Goldstein - The Jump 1978