Michael Asher

From The New York Times -
Visitors stand in Michael Asher’s installation of aluminum studs that outline previous Santa Monica Museum of Art exhibitions.

Asher's latest installation puts in plain sight and in a tangible form the culmulative result of institutional decisions taken over time, which otherwise would be invisible.

Link via The New York Times.
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Colour Chart: Reinventing Colour, 1950 to Today

Marcel Duchamp, "Tu 'm", 1918


Gerhard Richter, "Ten Large Colour Panels", 1966-1971/72

Taking a departure from the usual format of focusing on artists, this post will highlight a recent exhibition at MoMA, New York, which looked at how colours became "despirtualised" in the mid of the last century as a result of the ubiquity of colours in all manner of commercial settings. In particular, how artists used and viewed colours is also being teased out in sometimes surprising and unexpectedways.

There are also some audio and video tracks on iTunesU or just the audio tracks here.

Go to online exhibition.

Also see a recent article in Wired on the difference in the perception of colours in an adult and in an infant.
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Brian Jungen

Court, 2004, 224 sweatshop tables, paint, 2 rolling steel warehouse ladders, 2 basketball hoops each with net and backboard, 12' 4" × 28' × 70' 7"


Installation view, Secession, Vienna, 2003

Using mass-produced sweat-shop products as material -- both in the artistic medium sense, as well as in the sense of artistic content --- in the fashioning of extremely haunting and poignant artworks that bespoke of global commerce and the extreme unbalance of )economic) power.

Also see short Wikipedia entry here.

See more of artist's works here.
Link via Boing Boing.
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Desiree Palmen

A searing (political) comment on subjugation and surveillance with undercurrents of racial profiling and stereotyping.

See also article from Daily Mail.

Go to artist's website.
Link via Biong Biong.
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Anthony McCall

Between You and I, 2006 -- Installation view at Peer/The Round Chapel, London, 2006 -- Vertical solid light installation, 32-minute cycle in two parts -- Computer, QuickTime movie file, two video projectors, two haze machines -- Dimensions variable © 2007 Anthony McCall -- Photograph: Hugo Glendinning

From the exhibition write-up at Serpentine Gallery's web-page:

"In these works, the artist sought to deconstruct cinema by reducing film to its principle components of time and light and removing the screen entirely as the prescribed surface for projection."

Also see exhibition review and interview.

Also see a short segment over at Tate Shots on McCall's early work "Line Describing a Cone".

Go to artist's website.
Link via Make Blog.
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Richard Bram & Silvia Willkens

Isabel Trio, 3rd for Transfigurations, 2007

A visual thesis on art as an act of re-telling, without necessarily being repetitive - as re-interpretation in time and space. See more images from the series here. Also hear an interview excerpt here.

Go to artists' websites here and here.
Link via Paintalicious.
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Markus Kison

CharmingBurka -- based on a photo by Guy Hoffman

A wry take on acts of hiding and revealing as mediated by technology, real-world materiality and psychological perceptions. From the project page:

"The CharmingBurka sends a self-defined picture of the wearing person to every mobile phone next to it. The project researches about clothes with a digital layer that is different to their first optical impression."

Go to artist's website.
Link via Boing Boing.
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