Alex Bacon

  • interviews July 10, 2018

    Keith Sonnier

    This summer (and beyond), the East End of Long Island, New York, is a prime spot to experience the sculpture, installation, film, and drawing of Keith Sonnier. An extensive but not exhaustive survey, “Keith Sonnier: Until Today” at the Parrish Art Museum in Water Mill runs through January 27, 2019. Concurrently, the Dia Art Foundation’s Dan Flavin Art Institute in Bridgehampton has restaged, through May 29, 2019, Sonnier’s seminal environmental work Dis-Play II, 1970, which was first exhibited in the artist’s debut solo exhibition that year at the Leo Castelli Warehouse. Simultaneously, Tripoli

  • interviews February 13, 2018

    Rita McBride

    Since the 1980s, Rita McBride has examined the ramifications of modernism’s legacy for society, in everything from urban planning to the aesthetics of space. Her present project at Dia:Chelsea in New York, Particulates, 2017, involves a science fiction–inflected use of lasers to explore questions as wide-ranging as the proliferation of security barriers and the nuances of bodily experience in contemporary times. The installation is on view until June 2, 2018.

    I STARTED EXPLORING THE IDEAS in the installation at Dia:Chelsea while participating in the Liverpool Biennial in the summer of 2016.

  • picks May 12, 2017

    David Novros

    David Novros’s current exhibition comprises four paintings and four works on paper from the 1970s. All postdate his first site-specific fresco from 1970, which was commissioned by Donald Judd for his Spring Street residence in New York City. Novros, so much more than a Minimalist, is interested in continuing the tradition of painting as an immersive, site-specific experience—as it is in Paleolithic cave art, Byzantine mosaics, and Renaissance frescos—one that can profoundly alter its surrounding architecture.

    Untitled, 1975, is a large-scale work painted with luminescent monochromatic blocks

  • interviews May 02, 2017

    Doug Wheeler

    Doug Wheeler is an American artist based in New Mexico. In the 1960s he began working in Los Angeles, where he was one of the pioneering figures exploring how light and space could be used to establish experiential situations. At the Solomon R. Guggenheim Museum in New York, Wheeler is currently showing PSAD Synthetic Desert III, 1971, the first realization of a semi-anechoic chamber he originally conceived as a plan in 1968. The work is on view through August 2, 2017.

    TO ME, A WORKING DRAWING is about experimental spaces or thoughts. I used to do what I called “equation drawings,” which I started

  • picks April 07, 2017

    Ricky Swallow

    For his first solo exhibition in New York since his 2006 survey at MoMA PS1, Los Angeles–based Australian sculptor Ricky Swallow embraces an unprecedented degree of abstraction. The artist has made bronze casts of configurations of studio scraps—cardboard, rope, leather, wood—that could be called a kind of found or incidental abstraction. On several occasions, Swallow has talked about his “built-in moral resistance” to abstract modes, yet his folk version of the genre, for lack of a better term, complicates our understanding of what abstraction can do. Swallow is, above all, most interested in

  • interviews October 03, 2016

    Carmen Herrera

    Carmen Herrera is a Cuban-American painter who has been based in New York since 1954. Over the past seven decades, her practice has evolved in tandem with, but often separate from, the dominant aesthetic trends of the twentieth and twenty-first centuries, from post-Cubist abstraction to Minimalism. Herrera’s career is now being celebrated with a survey exhibition, focusing on her work from the years 1948 to 1978, at the Whitney Museum of American Art. The exhibition is on view through January 2, 2017.

    SOMETIMES ways of working from fifty or sixty years ago return in my work. This is why I continue