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Art Seeks Enlightenment in Darkness
  + stars: | 2024-04-24 | by ( Jori Finkel | More About Jori Finkel | ) www.nytimes.com   time to read: +1 min
This article is part of our Museums special section about how institutions are striving to offer their visitors more to see, do and feel. To enter Kehinde Wiley’s show “An Archaeology of Silence” is to step into darkness, where only the art itself seems to emit light. The space feels somewhere between a crypt and a cathedral, featuring paintings and bronze sculptures of reclining Black bodies, spread out in repose or entombed like corpses, that appear to glow from within. The show, now at the Museum of Fine Arts, Houston, culminates with a monumental sculpture of a fallen man on horseback, draped over the horse as if he had just been shot, his Nikes dangling below the saddle. Made in the year after George Floyd was killed by the police in Minneapolis, this monument — and more broadly, the show as a whole — confronts the “legacy and scope of anti-Black violence,” according to Darren Walker, president of the Ford Foundation.
Persons: George Floyd, Darren Walker Organizations: Museum of Fine Arts, Ford Foundation Locations: Houston, Minneapolis
Robert Irwin, a Southern California artist associated with the Light and Space movement of the 1960s, who early on stopped making paintings in favor of creating ephemeral and sometimes intangible art environments, died on Wednesday in the La Jolla section of San Diego. His death, at Scripps Memorial Hospital, was caused by heart failure, said Arne Glimcher, the founder and chairman of the international Pace Gallery, which has shown Mr. Irwin’s work since 1966. Mr. Irwin lived in San Diego. Within the contemporary art world, Mr. Irwin’s work on human attention and perception — he called it, with a nod to scientific research, an “inquiry” into perception — was highly influential; he won a MacArthur “genius” award in 1984. The work was not highly visible to the public, however.
Persons: Robert Irwin, Arne Glimcher, Irwin’s, Irwin, Organizations: Scripps Memorial Hospital, Pace Gallery, MacArthur Locations: Southern California, Jolla, San Diego, Venice
A decade ago, priced out of renting an apartment and studio in Los Angeles, the artist Dominique Moody built a steel-clad, wood structure on a 20-foot flatbed trailer. It was an experiment in making a small, mobile abode before the tiny home trend took off. Steeped in assemblage, the process of making art from found or scavenged objects, Moody, 66, fashioned her home out of reclaimed materials where others would have gone straight to Home Depot. Starting Oct. 1, the Nomad will be parked outside the Hammer Museum as part of the sixth edition of “Made in L.A.,” a biennial spotlighting emerging and underrecognized artists living in Los Angeles. And it serves as a teaser for what’s inside, as this year’s exhibition is not just made in Los Angeles, but to an extraordinary degree made of it, with objects scavenged from the city streets — ranging from palm fronds to broken car parts — showing up in many of the works.
Persons: Dominique Moody, Moody, Ford Organizations: Hammer Museum Locations: Los Angeles, L.A
Watching for the Bus Stop Gallery
  + stars: | 2023-07-19 | by ( Jori Finkel | More About Jori Finkel | ) www.nytimes.com   time to read: +1 min
The artist Felipe Baeza knows something about waiting for the bus. Growing up in Chicago in the 1990s, he rode the city bus on his own starting around age nine. Going to college at Cooper Union in New York to study art, he took the bus or subway from his home in Spanish Harlem to get to class. They will also appear on digital kiosks and newsstands in Mexico City. Navigating a city by public transportation changes the way you experience the landscape, the world.”
Persons: Felipe Baeza, , Baeza, Organizations: Cooper Union, Art Fund Locations: Chicago, New York, Spanish Harlem, Los Angeles, Brooklyn, Baeza, Boston, Léon, Mexico, Mexico City, Celaya
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