Cultured Magazine

Fall 2015

Issue link: https://www.cultureddigital.com/i/566702

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Contributing Editor Laura de Gunzburg shares her cultural roadmap with stops in Los Angeles, New York, Dallas and Germany. PORTRAIT BY JASON RODGERS 104 CULTURED PHOTOS COURTESY OF THE ARTIST AND COMMONWEALTH & COUNCIL (MICHAEL); PHOTO BY FREDRIK NILSEN, COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES (SWALLOW), THE ARTIST AND THE NEW MUSEUM (SHAW), THE POLLOCK-KRASNER FOUNDATION / ARTISTS RIGHTS SOCIETY (ARS) (POLLOCK), NEW YORK; DUVE BERLIN (ARNOLD) Lucas Michael's Appercus Addendum (Red); Manya (yellow); Frin Aech- nar to Spica (Blue), 2014 at Commomwealth & Council gallery in L.A. "Argentina-born Lucas Michael now lives in New York and has shown his work internationally. Covering a variety of mediums from video and sculpture to performance and photography, the multimedia artist has a very interesting perspective on pop culture. After a very busy summer—including three gallery shows in L.A.—he is now working on a museum show in Germany that will open later this fall." "This November's "Jackson Pollock: Blind Spots" at the Dallas Museum of Art is the largest-ever survey of Pollock's controversial Black Paintings series. Dismissed in their time as a late-career folly, Black Paintings have since been recognized as among Pollock's most important artistic experiments, and have been frequently cited as a major influence on later generations of artists. I recently attended a talk on Pollock with Dan Colen, and I was fascinated by how young artists like Colen have been inspired by the gestures of action of Expressionist painters." "I'm really drawn to the work of Maximilian Arnold. His pieces look like paintings to the point where you're certain you can see brush strokes, but they're actually digitally created. He's basically forcing us to question the notion—the limits—of a painting. It seems to make perfect sense in our digital age." "Although recognized as an icon of the 1970s Los Angeles art scene, Jim Shaw has never had a comprehensive museum show in New York. That he is only now getting his due speaks to the influence of the L.A. art scene. Only recently are we seeing such an exciting and booming emerging art scene on the West Cost. Shaw mines his imagery from the cultural refuse of the 20th century, using comic books, record covers, conspiracy magazines and obscure religious iconography to produce a portrait of the nation's subconscious." "I'm really looking forward to Ricky Swallow's show this month at David Kordansky. Having been recently exhibited at the Hammer Museum, the 2014 Whitney Biennial and the 2013 Venice Biennale, Ricky has become a highly respected artist and a force in L.A. Even more impressive is that the 41-year- old taught himself how to carve from a 'how-to' book." Jim Shaw's Untitled (Distorted Faces series), 1985 Ricky Swallow's Skewed Open Structure with Rope #2 (white), 2015 Jackson Pollock's Black and White Painting II, circa 1951 Maximilian Arnold's Untitled, 2015 THE SEASON IN ART

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