Posts tagged conceptual art
Artists at Work: Jim Shaw by Julian Hoeber
Jim Shaw is a major figure in contemporary art whose career began in music, with his early collaborative work with Mike Kelley in the 1970s anti-rock band Destroy All Monsters. Since then, he has gone on to work in a range of media, from drawing and sculpture to performance, producing a perverse and radical reimagining of American culture. I worked for Shaw for several years, getting an up-close view of how he developed his work, which often started with a joke or coincidence that would later become a beautifully crafted object. We met in October 2013 to discuss art history, psychoanalysis, and the ways that unconscious processes inform his highly conceptual practice.
Second Life: Jack Goldstein and the CalArts Mafia by Jack Goldstein
In 1974, after Helene quit her job at Pomona, we went together to New York; after a few years she became the Director of Artists Space. Since graduating in 1972, I had been going back and forth between L.A. and New York; that continued for another couple of years.
At the End of Tipton Way: On the More Love Hours Memorial to Mike Kelley by Jennifer Krasinski
Following Mike Kelley's death in 2012, a spontaneous memorial sprung up in an abandoned carport in his Los Angeles neighborhood: a makeshift altar heaped with tattered stuffed animals, dripping candles, homemade afghans, and handwritten notes, a public yearning to capture Kelley's spirit and share in a grievous loss.
Larry Bell’s Architectonic Light: Early Cubes and Improvisations by Robert C. Morgan
In 1965, when Larry Bell arrived in New York from Southern California to begin work on the exhibition at the Pace Gallery that would define his career, Minimal art was in full swing. At that time most of the major artists associated with this movement were in New York. The galvanized-steel cubes of Judd, the L-shaped beams of Morris, the die-cut “alloy planes” of Andre...
Suzanne Lacy on the Feminist Program at Fresno State and CalArts by Moira Roth
In 1970, Suzanne Lacy was a second-year graduate student in psychology when she entered Fresno State's burgeoning Feminist Art Program. Her education, and ultimate career, charted new art territories that incorporated training in carpentry skills, consciousness raising, and an emotive feminist approach to conceptual strategies.