Even as it feels like a representation for the mass decay we experience, it is also, if only accidentally, a preservation of a time when decay still felt like a metaphor or imaginative exercise.
Lucas Blalocks second solo show at Galerie Eva Presenhuber, Florida, 1989, achieves that difficult balance of being an intensely personal show that resonates beyond the private symbols and winks embedded in its photographs and sculptures.
I detect a strong Marxism underlying the work, moving from the struggle of black and white to a resolved dialectic in red. Their work completed, the performers lounge on the sculpture, rather than dragging and assembling it. Such subtle resistance matches again with Noguchi, who, curator Dakin Hart reminds visitors, was a social activist most of [whose] efforts to shape society were indirect and abstract.
The Power of Intention: Reinventing the (Prayer) Wheel brings together contemporary artists making work about intention, belief, and prayer with historical prayer wheels and related images from the history of Himalayan arts.
Luke Stettners current exhibition at Kate Werble Gallery, ri ve rr hy me sw it hb lo od, is a heavy show. I do not use the word heavy lightly.
In his now mostly forgotten work, The Philosophy of As If (1911), Hans Vaihinger argued that much of our mental life is taken up not by provable propositions, but by as if stories that we construct to make sense of our experience.