Film

GUY BEN-NER

from self-portrait as a family man.

LIKE!

Library for the Birds of Antwerp 1993

MARK DION

Library for the Birds of Massachusetts 2005
Steel, maple tree, plywoood, books, and mixed media 20 x 18 x 20 feet

COSIMA VON BONIN
"installationsannicht"

RYAN BURGHARD

Specifically I became interested in the role of masculinity in contemporary society through ritual, gender relations, authority, and fraternal orders. I wanted to investigate current social demands for a male re-evaluation of constructed identities and the resulting impact it has on 'masculine' sensibilities.

ROB MCHAFFIE

Woody and Soon-yi 2006
Oil on linen 2 panels, each 28 x 27 cm

KOJI RYUI

Milk tree society – techno homo (white) 2005
foam, plastic, paper, glue, rubber

I like to use a wide range of mainly unexpected, cheap, toxic or recycled materials. I like toxicity juxtaposed against charming appearances. Artificial materials that form organic-like structures allow me to introduce some form of narrative into the work. It reminds me of artificial intelligence.

olafur ELIASSON

Multiple Grotto, 2004. Take your time: Olafur Eliasson, installation view at San Francisco Museum of Modern Art; (c) 2007 Olafur Eliasson; photo: Ian Reeves, courtesy SFMOMA

April 20 - June 30 2008

MoMA + PS1

Take your time: Olafur Eliasson is the first comprehensive survey in the United States of works by Danish/Iclandic artist Olafur Eliasson, who creates very simple yet conceptually dense works which incorporate physical phenomena as known from nature to bridge the gap betwen art and natural science. The impulse of his work springs from his interest in the conflicts between nature and culture. it is his intense study of the results of scientific research that he channels into aesthetic experiences of poetic cimplicity. Eliasson's work is remarkably diverse and includes large-scale installations such as Your Strange Certainty Still Kept (1996), a working model of a thunderstorm inside an exhibition space, as well as quite simple pieces made of ephemeral and provisional materials such as ice, steam and light.

Your Strange Certainty Still Kept, 1996, Water, light (stroboscope), Plexiglas, plastic, recirculating pump, wood © Courtesy The Dakis Joannou Collection, Athens.

Inverted Berlin Sphere, 2005. Take your time: Olafur Eliasson, installation view at San Francisco Museum of Modern Art; (c) 2007 Olafur Eliasson; photo: Ian Reeves, courtesy SFMOMA

Drawing from public and private collections worldwide, the exhibition will include 34 works that explore Eliasson’s diverse range of artistic production from 1991 to the present, including six new works created specifically for The Museum of Modern Art and P.S.1 Contemporary Art Center.

what a massive event; i am QUIVERING with excitement.

TINY REVIEW

the age, friday april 4

in more exciting news, Mischa has been awarded the patrick corrigan AM aquisitive award in the CCP kodak salon 2008. hooray, prints for everybody.

another horse

untitled (nudes, van, horse), 2004.

kiss explosion, 2005.

emily and hanna, 2002.

RYAN MCGINLEY

siri HAYES

smoko, 2002

tree antenna, 2004. from the korea series.

one of my favourite artists at the moment, hayes' large format photographs explore the troubled and tenuous relationship between humans and their environment. had work recently at VCA margaret lawrence gallery (where in the woods), monash university musuem of art (recent aquisitions) in melbourne. see more on her web-site.

woods, 2004.

"Amphitheatres, whether natural or built, are internal spaces in the external world. Hayes makes them into private rooms without walls. It’s unclear what the real relationships are between Hayes’ subjects or what their purpose for being there is, but most seem comfortable there. The trees surround, lessening the exposure to wind and rain and so fulfil some of their potential as a primary housing material. In one image, however, a man standing between stepping stones in the creek, his duffle coat collar pulled up to his neck against the elements, evokes nomadism or homelessness. Hayes’ use of enclosed and protective spaces in the environment remind us of the sometimes cruel differences between private and public spaces and the related issues of border crossing and the trauma of displacement. "

kate rhodes, siri hayes: the best of all possible worlds.