Vadis Turner: Bedfellows at Zeitgeist Gallery

REVIEW | 12.22.2018 @ Zeitgeist Gallery

Vadis Turner opens at Zeitgeist Gallery in Nashville, TN with Bedfellows (through December 22, 2018), an exhibition of highly-formal sculptural works and wall reliefs that reframe materials and processes of labor often associated with domesticity. The Nashville-based artist is best known for her transformative use of gendered materials in abstract reliefs and sculptures about female experience(s). The latest body of work from Turner since the debut of her first solo exhibition, Tempest, at the Frist Art Museum in 2017—which highlighted the artists expressive ribbon-drip reliefs and breast milk encaustics—Bedfellows is a continuation of Turner’s formal revision of archetypal domestic textiles. Yet, Bedfellows also denotes a new consideration by the artist for subtle experiences of object-duality; interior and exterior; intimate and enterable; hard and soft.

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[Image: Vadis Turner, Black and White Quilt Vessel and Leaning Cloud Quilt Vessel (2018). Image by John Schweikert. Courtesy of Zeitgeist Gallery.]

Notes On Yayoi Kusama: Infinity Mirrors At The High Museum Of Art

REVIEW | 12.08.2018 @ The High Museum of Art

The Hirshhorn Museum’s (Washington, D.C.) blockbuster exhibition Yayoi Kusama: Infinity Mirrors, premieres at the High Museum of Art (through February 17, 2019) in Atlanta, Georgia with one of the most comprehensive exhibitions by the ultra-pop artist in North America in decades. Following the curatorial efforts initially organized by Hirshhorn associate curator Mika Yoshitake, Yayoi Kusama: Infinity Mirrors at the High Museum of Art is a sizable exhibition focused largely around the artists mirrored-room environments with critical paintings, works on paper, sculpture, performance, and video art interspersed throughout. The Japanese artist is definitively known for her Net Paintings and phallic Accumulation sculptures—compulsive, expressive works made during the 1960’s that employ repetitive use of circular motifs to generate expansive, optical fields. Alluding only parenthetically to Kusama’s contributions to Op Art and post-drip Abstract Expressionism, Infinity Mirrors keenly exploits the artists resurgent popularity as the producer of aesthetic environs consummate for social media, successfully commodifying the exhibition’s accessibility as a measure of import.

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[Installation view of Yayoi Kusama: Infinity Mirrors at the Hirshhorn Museum and Sculpture Garden, 2017. [Left to right: Accumulation (1962 - 1964); Red Stripes (1965); Arm Chair (1963)] Photo by Cathy Carver. © Yayoi Kusama.]

Art, Justice, and Democracy: Holland Cotter

TRANSCRIPT | 11.20.2018 @ The Frist Art Museum

On November 14th, 2018 the Frist Art Museum hosted the inaugural Art, Democracy, and Justice lecture series organized by artist and Cornelius Vanderbilt Endowed Chair and Professor of Art María Magdalena Campos-Pons. Featuring The New York Times Co-Chief Art Critic Holland Cotter, artist and author Olu Oguibe, and curator and artistic director Adam Szymczyk, the three-part lecture addressed contemporary and resurgent political digressions from democracy and art’s collective responsivity to such realities.

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[Image: Olu Oguibe, detail of Das Fremdlinge und Flüchtlinge Monument (Monument for Strangers and Refugees), (2017). Photo by Ferenc Eln.]

My Heart But Spare My Soul: Conversation with Alison O’Daniel, César Leal, and Greg Pond

CONVERSATION | 11.18.2018 @ Stove Works

Chattanooga-based art space Stove Works in collaboration with Tennessee’s Locate Arts + Seed Space opened Melt My Heart But Spare My Soul (Oct. 12 - 28), a multi-modal exhibition of sculpture, dance, video, sound, and installation that sensorially engaged new modes of sonic conveyance.

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[Image: Installation of guncotton (2018) in Melt My Heart But Spare My Soul. Image by Sarah-Anne Wagoner. Courtesy of Stove Works.]

Out of Easy Reach: Allison Glenn

TRANSCRIPT | 11.15.2018 @ Lipscomb University

Allison M. Glenn, Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art, gave a talk at Lipscomb University on November 8th as part of part Seed Space + Locate Arts Insight Program. Discussing her curatorial project, Out of Easy Reach—an intergenerational exhibition of female-identifying artists from the black and Latinx diasporas—Glenn outlined the curatorial strategies, notes on abstractions, and conceptual relationships between artists central to the exhibition’s narrative.

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[Image: Juliana Huxtable, Nuwaub Chair, (2012)]