Arthur Ou

  • Left: James Welling, 0467, 2009, digital ink-jet print, 33 5/8 x 50 1/2". Right: James Welling, 9818, 2009, digital ink-jet print, 33 5/8 x 50 1/2”. Both images from the “Glass House” series, 2006–2008.
    interviews January 26, 2010

    James Welling

    James Welling’s long-standing interest in abstraction has often distinguished his practice from his Pictures-generation peers. His recent subjects include Mies van der Rohe’s 1945–51 Farnsworth House and Philip Johnson’s 1949 Glass House. An exhibition of a new selection of works featuring the latter and a video installation opens at Regen Projects in Los Angeles on January 30 and at David Zwirner Gallery in New York on March 24.

    WHEN FRANK LLOYD WRIGHT visited the Glass House, as Philip Johnson tells it, he was unsure whether he was inside or outside. He said that he didn’t know whether or not

  • Left: Tehching Hsieh, One Year Performance 1980–1981. Performance view, 1980. Tehching Hsieh. Photo: Michael Shen. Right: Tehching Hsieh, One Year Performance 1978–1979. Performance view. Photo: Cheng Wei Kuong.
    interviews January 22, 2009

    Tehching Hsieh

    Taiwanese-American artist Tehching Hsieh is well known for his durational performances. An installation of his first One Year Performance 1978–1979, commonly known as “Cage Piece,” debuted at the Museum of Modern Art in New York on January 21, inaugurating MoMA’s new “Performance” series. His second One Year Performance 1980–1981, or “Time Clock Piece,” will be included in the Guggenheim Museum exhibition “The Third Mind,” opening on January 30. A comprehensive monograph of his oeuvre, Out of Now, is slated to be published by MIT Press and Live Art Development Agency in March.

    IT’S COINCIDENTAL