Ceci Moss

  • picks July 22, 2016

    Leonor Antunes

    From the perspective of artist Leonor Antunes, the gallery is a complete volume. Every inch of the floor, ceiling, and walls plays an active role in narrating the histories reworked by the artist. Newly commissioned for SFMoMA, A Spiral Staircase Leads Down to the Garden, 2016, mines the creative trajectories of pioneering women autobiographically tied to midcentury California but obscured from the era’s modernist cannon, such as architect and interior designer Greta Magnusson Grossman and artists Anni Albers, Kay Sekimachi, and Ruth Asawa. Their outputs are the sources for a series of sculptural

  • picks December 05, 2013

    Takeshi Murata

    Takeshi Murata’s latest animation, OM Rider, 2013, is dark, funny, and perhaps one of the most bizarre works by the noted video artist. Inspired by Murata’s longtime interest in campy horror films—think Dawn of the Dead or films by Dario Argento—this eleven minute and thirty second video stars a synthesizer-playing, motor-scooter-riding, pot-smoking werewolf and a smartly dressed, haggard old man. The werewolf occupies a wide, bluish expanse dotted with coconut trees and mountains, where he rides his scooter and plays music, while his counterpart contemplatively sits in darkness at a wooden

  • picks October 14, 2013

    Mark Leckey

    Whether he’s revealing the interior monologue of a refrigerator or assembling “dumb things” for museological treatment, Mark Leckey’s work recognizes the animism that technology bestows upon objects. For the exhibition “On Pleasure Bent,” Leckey pays extra attention to the underlying processes that enable things to come alive, such as binary code, electricity, and the RGB color model. This new body of work, created in conjunction with his residency at the Hammer Museum, connects the operations of these foundational supports to the parallel flow and mutability of images in the digital era.

    In the

  • picks January 04, 2012

    “New Document”

    Hunter Longe and Matthew Draving’s floor-bound sculpture Open Screen Unit (all works 2011) grounds many of the ideas afoot in this concise group show. Here, a projection of a mesh pattern shines through a sheet of mesh draped over a square frame, producing an ethereal illumination. The title indicates that this “screen” is not a surface for the serial, filmic play of images, but a site that responds to the simultaneous, software-enabled production of images. Indeed, throughout the exhibition screens are employed not as spaces of fixity or one-way transmission, but as sites open to fluidity and