Eli Diner

  • Kishio Suga, Tabunritsu (Law of Multitude) (detail), 1975/2012, plastic sheet, stone, forty-one concrete blocks, each 24 x 8 x 9".
    picks December 12, 2012

    Kishio Suga

    On the heels of last spring’s “Requiem for the Sun,” the excellent survey of Mono-ha, Blum & Poe has once again teamed up with curator Mika Yoshitake for a retrospective of a key participant in the loose-knit group, Kishio Suga. The Mono-ha artists, who in the late 1960s and early ’70s created installations out of industrial and natural materials, can be easily situated against the backdrop of Japan’s postwar economic miracle and the upheavals of the student movement, and affinities with Arte Povera and process art allow their work to be folded into an international post-Minimal turn. Some of

  • Steven Arnold, The Advantages of a Newer Social Structure, ca. 1980s, silver gelatin print, 13 1/2 x 13 1/2”.
    picks November 25, 2012

    Steven Arnold

    Steven Arnold is remembered—if maybe only dimly—for his 1970 psychedelic film Luminous Procuress and photographed tableaux vivants of the 1980s and ’90s. The former, one of a handful of films Arnold made in the late ’60s and early ’70s, became an underground hit, and its hour-plus procession of orgiastic vignettes delighted Dalí. Collected in three now out-of-print books, the tableaux issue intricate little operas, drawing on folk art, sci-fi, and the fin de siècle. The small but welcome survey “Steven Arnold: Cabinet of Curiosities” is meant to shed light on a manifold career cut short by AIDS

  • View of “I am an employee of UNITED, Vol. 2,” 2012.
    picks October 06, 2012

    Ei Arakawa

    Staging antic, chaotic, and often collaborative performances at galleries, fairs, and museums on several continents, Ei Arakawa has racked up a bounty of airline miles. In his debut solo exhibition in LA, “I am an employee of UNITED, Vol. 2” —volume one occurred at Galerie Neu in Berlin two years ago—Arakawa satirically scrutinizes this globetrotting lifestyle, offering, in an accompanying text, the travel strategies of the itinerant performance artist: “Inside our carry-ons . . . there are objects not claimed as art. Those objects are almost like tools, yet too precious and fragile to send them