There is something so harrowing about staring into Bontecou’s sculptures. They are at once primordial and other worldly, projecting outward and eerily enveloping you, overwhelming you. Her seemingly bottomless black holes reflect no light and no life, and yet, they are self referential — representing life itself as boundless and limitless.
A recent acquisition of the Hammer Museum, the work of UCLA Photography Professor James Welling is simply enthralling to look at. Tinted filters distort our perception of exposure for this series, focusing on the 1949 Glass House of architect Phillip Johnson. Recently, I prefer his abstract works, but the colors on these are captivating.
Zarina Hashmi, an Indian-born American artist has been working out of NY for the last 30 years. I came across this woodcut while working at the Hammer Museum in 2009, just after it was featured in the 2008/2009 exhibition of
The work sheds light on the artist’s motifs concerning displacement and exile and immediately recalls the meandering form of a border or river: that geographic and oftentimes political boundary. The representation is a simple and yet striking image. Now, four years later,
will be running as the Hammer’s fall exhibition (Sept. – Dec. 2012). The works appropriately deal with issues of identity and history and a profound sense of socia-political awareness.
GRAPHITE – originating from the greek word to draw / to write, represents the origin of things – the beginning of a preliminary sketch to nearly any work of art. Graphite articulates the onset, right now – starting out, sketching paths, but journeying into something thought-provoking. It is the basic medium, but yet it also sparks ideas whenever confronted with a blank surface. Whether so dark as almost to black, or lightly articulated, graphite encompasses the gradation of tone in a way that translates to how we see the material in our journal – touching upon the often dense problems that art can present, but also the capacity of arts lightness and levity.