Sara's art it's something that everyone has to see. The variety in the exhibition is enriching.
The fluidity of the sculpture and its relationship to the wall, with its loose, layered quality, makes for a more inviting and inviting space, one that might even be considered lively.The show, which opens at the Museum of Contemporary Art, San Diego, can be seen as a snapshot of the state of contemporary art in California. As such, it is a useful and informative document, but a little too modest. As a brief review, it goes without saying that the best part of the show is undoubtedly the opening pieces. They are as good as anything they could have been. The exhibition has an accompanying catalogue, a wonderful collection of high-quality art history, and a wonderful collection of books. The catalogue is a valuable document, and it's been published as a book by the museum. It's a shame that the exhibition was purchased by the Museum of Contemporary Art. There may be other ways to get around it, but to pick on the other side of the border is to pick on a low track.
Sara's art it's something that everyone has to see. The variety in the exhibition is enriching. There are four versions of Guggenheim Gallery, with the artists' names (Joan Brown, Anna Maria Maiolino, Richard Artschwager, and Brian O'Shea) printed on the wall at the entrance. The exhibition is divided into two sections. The first is a display of the artists' sculptures, all from 1984, a series that consists of two or more bronze castings of a single, double, or triple figure. The sculpture is accompanied by a text and is accompanied by a catalogue. The bronze castings are broken up into several separate series, which are arranged on the floor and arranged in various combinations. The titles (converted to Greek letters) are left out, but the text explains the themes of the individual works and their relationship to each other, and the fact that they refer to specific places and persons. This exposition, as in the other works on display, is not that easy. The text, written by an artist who does not often give an easy answer, gives an obvious hint that the story of art is interwoven with personal memories and fears.The second section of the show consists of work that consists of one or two casts of objects. The titles, again inverted, are left out. These include things like chairs, containers, buckets, newspapers, books, a pot, and a horn, among other things. The objects cast in bronze are made of bronze. They have been painted white, and they are painted black, brown, and red. The objects are arranged in a square that, like the bronze castings, is broken up into smaller fragments. The fragments are arranged in a way that creates confusion, for they are separated into smaller parts and are arranged in a series of concentric circles that, together, create a pattern of light. They are put together in the same way that the bronze castings are put together.
Sara's art it's something that everyone has to see. The variety in the exhibition is enriching. Among the highlights are three sculptures (all works 2000): one is a large, wood-and-glass sculpture of a couch, which is itself a different kind of sculpture, and one is a freestanding, stone-and-plaster sculpture with a metal arm extending out from it. The best piece is a freestanding construction that looks like a giant couch, with a rope between the legs and reaching up to the wall; the other two have their necks bent forward, and are similar in size. The other two pieces have more or less the same shapes, but with a different color. The third piece is a chair, made of porcelain, which is not porcelain, but rather a form that can be made into furniture. The result is a polyhedron, which resembles a perfect cube, but it is, in fact, made of wood, and the wall opposite one's seat.It's not so surprising that it is not so difficult to see what Sara's work is all about, and why it's such a big deal to me. The fact that the impulse for the work is always to be seen as something else is both a constraint and an asset. For some reason, she has a habit of drawing a lot of the viewer's attention to herself, and so her work is often a little put down, if not downright galling. It seems a matter of context. In her earlier works, her interest was in the act of drawing the viewer's attention. In these more recent pieces, she seems to be more interested in the emotional effects of the colors she uses, and in the impression of drawing the viewer's attention back to herself. That's not to say that Sara's work is any less playful, but it does seem a little more deliberate.
What will it be, then, of the public that will have to see this show of paintings?—Julia Bryan-Wilson
We have seen in the past two Whitney Biennials and New Yorks Dwan's that a diverse group of painters can be found at the center of each art-world hierarchy. This time, we have the panorama of diverse tastes, a grandiose display of diverse images and ideas. It's a rare instance of an art in which the individual works of the artists speak for themselves, and it's even rarer to see a show that is so inviting and satisfying as to be part of the overall theme.