The beautiful exhibition catalog for MADE IN L.A. 2020: a version—available to order from the Hammer Store—includes a folio of collages by Hedi El Kholti bound into the book, as well as a conversation with El Kholti and Chris Kraus. The artist-designer-editor has also created two posters, available as exhibition takeaways at the HammerMuseum and the Huntington.
I never really had a plan, except to express myself as purely as possible… I still make work on my own body first, as I always have. I can only understand it from the inside. — Michael Clark
MICHAEL CLARK—COSMIC DANCER, recently at the Barbican, was the first comprehensive retrospective of the British dance artist. Interrupted by the pandemic shutdowns, the exhibition lives on in the catalog, edited by Florence Ostende.
Bringing together materials from his choreographic work and collaborations with artists—including Elizabeth Peyton, Silke Otto-Knapp, Sarah Lucas, Wolfgang Tillmans, LeighBowery, Peter Doig, Cerith Wyn Evans, and Duncan Campbell—the book is a beautiful complement to MICHAEL CLARK, a 2011 monograph edited by Suzanne Cotter and RobertViolette.
Lucas Blalock was ten in 1989, when his thumb was crushed beyond repair in a freak accident on Disney World’s “Pirates of the Caribbean” ride and surgically replaced with his big toe. The procedure was somewhat experimental… but Blalock was able to maintain nearly normal use of his hand, thanks to his novel cut-and-paste digit…
As you might imagine, the psychic and physiological aftermath from the event has been ongoing. Some of this fallout was jarring, disruptive, paradigm-shifting… There is no aspect of Blalock’s work that was not shaped by this personal tragedy.*
A show of new work by Blalock is in its final weeks in New York. See link below for details.
Gladstone Gallery presents LAND OF DREAMS, a new body of work by Shirin Neshat.
Comprised of more than 100 photographs and a two-channel film installation, LAND OFDREAMS marks a significant visual and conceptual shift for the artist, who has turned her lens to the landscape and people of the American West. For this exhibition, Neshat will present the entire collection of photographs from this series as well as both films, which will be complemented by an online viewing room and virtual screenings throughout the show’s run.*
Across his body of work, Reynaldo Rivera depicts people enmeshed in their own private worlds who completely transcend their surroundings through the force of imagination and their inner lives. This remains true, whether the subject is photographed in a garden, a public toilet, or a house party in pre-gentrified Echo Park. I think this is a primary difference between Rivera’s work and Nan Goldin’s, to whom his portraits of drag queens, trans women, and other friends might be compared. Goldin’s subjects in The Ballad of Sexual Dependencyare downwardly mobile: middle class kids who took a wrong turn, captured in louche dens of bohemian squalor during emotionally intimate scenes… Rivera’s photographs of drag performers taken in Latino gay bars in LA between 1989 and 1997 reflect a different kind of collaboration. He sees his subjects less as they “are” than how they most wish to be seen, lending himself to their dreams and illusions of glamour. And why shouldn’t these dreams be realized? — Chris Kraus*