Tag Archives: Tacita Dean

LUCY LIPPARD — TACITA DEAN — EDWARD RANNEY

“I was always pro-artist because I was well aware that what I knew about art I learned from artists—not from criticism… [Robert Smithson] went to Max’s Kansas City every other night, and he’d bring a question to be discussed; he’d come ready to talk. I was there rarely, but I love to argue, so I’d argue with him… I liked him, but I always said he was a more important writer than he was an artist, and that pissed him off—for good reason, I guess.” — Lucy Lippard*

Following a Getty Center screening of Robert Smithson’s Spiral Jetty and Charles and Ray Eames’s Powers of Ten—in conjunction with an exhibition on monumentalityTacita Dean, Edward Ranney, and writer-activist Lucy Lippard will talk about their engagement with land art.

“I’ve always liked what feels like the impossibility of writing about images, and I always welcome the chance to mess around with form in ways that try to address that… Writing parallel to art, or collaborating with it, is what I’ve been trying to do, and it’s certainly more fun than just acting alone.” — Lippard*

(Lippard and Ranney collaborated on the books Down Country and The Lines.)

MONUMENTALITY AND COSMIC SCALE

LUCY LIPPARD, TACITA DEAN, and EDWARD RANNEY

Saturday, March 9, at 2 pm.

Getty Center

Harold M. Williams Auditorium

1200 Getty Center Drive, Brentwood, Los Angeles.

*Jarrett Earnest, “Lucy Lippard,” in What it Means to Write About Art: Interviews with Art Critics (New York: David Zwirner Books, 2018), 288, 289, 302–303.

From top: Timothy Greenfield-Sanders, Lucy Lippard, from the series Art World, 1982, gelatin silver print, © Timothy Greenfield-Sanders; Studio International, July/August 1970; Tacita Dean, JG (offset) (detail), 2013, set of fourteen handmade offset prints, the Getty Research Institute, courtesy the artist, Marian Goodman Gallery, New York and Paris, Frith Street Gallery, London, and Niels Borch Jensen Edition, Berlin and Copenhagen, © Tacita Dean; Edward Ranney, Ollantaytambo, Peru, 1975, © Edward Ranney, courtesy of the artist.

TACITA DEAN’S ANTIGONE

ANTIGONE (2018)—an hour-long, 35mm, twin-projected film featuring Stephen Dillane and poet Anne Carson—is the centerpiece of a new Tacita Dean exhibition at the Serralves Museum in Portugal, which includes the artist’s early cinematic works and her recent large-scale blackboard drawings.

TACITA DEAN

Through May 5.

Serralves Museum of Contemporary Art

Rua D. João de Castro, 210, Porto.

Tacita DeanAntigone, 2018. Courtesy of the artist, Marian Goodman Gallery, New York and Paris, and Frith Street Gallery, London.

PARKETT’S TIME CAPSULE

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The exhibition A TIME CAPSULE—WORKS MADE BY WOMEN FOR PARKETT, 1984–2017 will be up through July 21.

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PARKETT EXHIBITION SPACE, Limmatstrasse 268, Zürich.

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“The Parkett Story,” an interview with Parkett founding editiors Jacqueline Burckhardt and Bice Curiger, will be published in the forthcoming print issue of PARIS LA.

Above: Tacita Dean, The Green Ray, 2001, front and reverse. Edition for Parkett 62.

Below: Nairy Baghramian, Maintainers, 2017. Edition for Parkett 100/101.

Image credit: Parkett.

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ON DAVID HOCKNEY

As part of the ongoing Getty Center exhibition HAPPY BIRTHDAY, MR. HOCKNEY, artists Tacita Dean and Ramiro Gomez, physicist Charles Falco, and writer Lawrence Weschler—author of True to Life: Twenty-Five Years of Conversations with David Hockney—get together this week for a conversation about their friend and colleague David Hockney. In addition, Dean will screen her documentary PORTRAITS (2016).

HAPPY BIRTHDAY, MR. HOCKNEY, conversation and screening, Tuesday, August 8, at 7 pm.

HAPPY BIRTHDAY, MR. HOCKNEY, exhibition, through November 26.

GETTY CENTER, 1200 Getty Center Drive, Brentwood, Los Angeles.

Free r.s.v.p.: getty.edu/visit/cal/events/ev_1853.html

David Hockney and Peter Schlesinger.

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Hockney and Peter Schlesinger

ART BASEL MIAMI BEACH – DAY 1

This week, Paris, LA will be bringing you an exclusive look inside Art Basel, the world’s largest international art fair, which began today in Miami Beach and lasts until Sunday. In addition to the primary Art Basel fair, featuring 250 galleries from 31 countries as well as lecture and film series, more than ten independent art fairs take over the tropical beaches of South Florida and the museum spaces of metropolitan Miami.

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The week began with a press conference hosted by Director Marc Spiegler and Miami Beach Mayor Philip Levine. The two introduced the fair’s sponsor, UBS Financial Services, and announced a number of revitalization initiatives in Miami, including the construction of a new convention center next year (to house future Art Basels) and the unveiling of a new Institute for Contemporary Art Miami, a controversial breakaway museum from Miami’s preexisting Museum of Contemporary Art.

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After the press conference, Paris, LA headed to the W Hotel South Beach for a private preview of a photographic series by Peter Lindberg, in conjunction with IWC Schaffhausen’s new watch collection. It wouldn’t be a major art fair without the inextricable collaboration of fine art, commercial advertising, and fashion. As the atmosphere and activity of Art Basel reveals, art is a commodity par excellence.

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At 11am, Art Basel Miami Beach officially threw open its doors to select collectors. The stalls were almost instantly swarming with eager collectors, though most fairgoers perused without significant scrutiny.

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Fondation Beyeler presented a collaborative performance by Marina Abramovic, part of the 14 Rooms series, which involved sleeping participants listening to soothing soundtracks while bundled on cots in a gallery. P.P.O.W. of New York presented a moving David Wonjarowicz retrospective, which displayed the artist’s multimedia sculptures and paintings next to his videos and photographs of the artist by friends Peter Hujar and Nan Goldin.

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Tornabuoni Art, Milan exhibited the light yellow drinking-straw wall sculptures of Francesca Pasquali next to deep blue and black paintings by iconic Italian artist Lucio Fontana. The booth was notably minimal in its primary color palette and white furniture to match its carpet and walls. Nearby, São Paolo’s Galeria Raquel Arnaud showed work by Carlos Zilio, influenced by quantum mechanics and metaphysical diagrams.

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Gladstone Gallery of New York and Brussels presented Cyprien Gaillard’s Cuban Wren, a massive steel excavator claw strung across with a bar of banded calcite, its iridescent mineral veins shining against the rusted machinery. The work recalled Gaillard’s work completed during his residency at the Hammer Museum in Los Angeles last year, in which he used steel parts from Caterpillar excavators to mimic ancient sabertooths and refer to the constant construction in the Hammer’s neighborhood of Westwood. Gaillard’s was not the only work from the Hammer, as Los Angeles gallery Regen Projects exhibited site-specific work by Gabriel Kuri, sculptures that mimic the marble flooring of the museum’s second-floor smoking patio.

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Many galleries were awash with “blue chip” pieces. Marian Goodman Gallery of New York showed an impressive array: recent work by Jeff Wall, drawings and a video by William Kentridge, and mineral photographs by Tacita Dean. Next door, New York’s Cheim and Read showed a fleshy, pink Lynda Benglis wall sculpture and an unusually colorful Jenny Holzer ticker. London’s White Cube showed installations by Haim Steinbach, a lightbox by Alfredo Jaar, and documentation photographs of an early Marina Abramovic performance.

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After several hours of art viewing (tomorrow’s post will cover other Basel highlights), Paris, LA continued down Ocean Avenue to Untitled., the independent art far in a gleaming white tent on Miami Beach’s soft sandy shores. The crowd was much more casual and congenial. Several booths offered giveaway posters and tabloids, including Alfredo Jaar’s ingenious For Sale, Not For Sale (2014), a perfect addition to such a commercial setting.

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Zürcher Gallery of New York displayed calculators by Brian Belott that looked as if they had washed ashore, coated in barnacles and sandy pebbles. SIC, or Helsinki’s Initiatives for Individuality, displayed the detritus of a Monday night performance by Anastasia Ax: giant blocks of shredded paper, splattered with black paint, crumbling across the gallery floor. Ax has created “refugee camps” out of plaster and destroyed them in fits of rage, synced to live-performed noise music.

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Los Angeles had a definitive presence in the small fair. Culver City gallery Luis de Jesus showed Margie Livingston’s amusing (and ironically titled) Body of Work (2014) and a pair of beautiful digital prints by Kate Bonner. Veteran L.A. crafts artist Joel Otterson had a whimsical candelabra and ceramic vase exhibted in Maloney Fine Art’s booth.

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Stay tuned for Day 2 of Paris, LA’s trip to Art Basel Miami Beach.

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