Kristian Burford, Audition, Scene 1: In Love, 2013
Australian born and bred Angeleno, Kristian Burford, pulls off a Los Angeles miracle in his exhibition, Audition, at Culver City’s Nye + Brown gallery.
In an alchemical transformation, Burford combines three familiar visual components to reveal something new, poignant and ripe for interpretation.
Two life-size, fluorescent-lit, beige office cubicles are each inhabited by a sculpture of a similarly beige-hued female nude, who appears bored in one tableau and frightened or anxious in the other. Each cage-like diorama is walled with two-way mirrors, visually multiplying the cubicles and nudes ad infinitum and from all vantage points. (more…)
Ron van der Ende, Fm3m / Salt, 2013, bas-relief on salvaged wood, 191 x 170 x 15 cm
One intriguing facet of today’s international art world is the way in which some styles and sensibilities, once considered distinctly regional, now pop up as the apparent inspiration for work generated thousands of miles away.
A case in point: the sculptures of Ron van der Ende, a Dutch artist working in Rotterdam, whose show, Phasmid, is on display at Ambach and Rice until July 27. Phasmid, by the way, is a reference to Phasmatodea, which are an order of insects known as walking sticks – animals that survive by camouflage and mimicry.
Van der Ende’s wooden bas-relief constructions confront viewers with aggressively 3D images of relatively ordinary objects, which – by sheer force of craft and depth mimicking illusion – are transformed into the extraordinary – with a pinch of piquant technological dread. And, intriguingly, beyond his virtuosic use of shadow and perspective, this Dutch sculptor seems to reference work by influential California artists Robert Irwin, Tony Berlant, Ronald Davis and John Okulick, not to mention George Lucas’ iconic vision of the Death Star. (more…)
Ken Gonzales-Day, RUN UP, 2007, LIGHTJET MOUNTED ON ALUMINUM, EDITION OF 5
Does knowing some background information about artwork really matter? Or, should everything you need to know about an image just be sitting there, exposed and open for scrutiny?
Ken Gonzales-Day’s series, Hang Trees, part of his exhibition at Luis de Jesus Gallery in Culver City, elegantly decides this question with a visceral sucker punch heightened by the very invisibility of its source information.
Ken Gonzales-Day, NIGHT FALLS II, 2007, LIGHTJET MOUNTED ON ALUMINUM, EDITION OF 5
Walk into the gallery and you are confronted with beautiful photos of oak trees and probing, high-focus portraits of young Latino men. Lovely, but so what?