James Merle Thomas

  • Maria Nordman, Standing Pictures Bosch-Basque (detail), 2001, mixed media, dimensions variable.

    “Maria Nordman: Geo-Aesthetics”

    Since the late 1960s, Maria Nordman has employed a range of strategies to probe the experiences of co-presence, the construction of meaning, and a corresponding politics of public and private space. This summer, smak presents “GEO-AESTHETICS,” a survey of drawings, sculptures, and performances from throughout the artist’s four-decade career. In addition to its display of seminal works such as FILMROOM: SMOKE, 1967–, the artist’s first projection, and a 1992 cedar structure realized in collaboration with master craftsman Makoto Imai, the exhibition will emphasize Nordman’s

  • Digital rendering of James Turrell’s Skyspace installation for the Solomon R. Guggenheim Museum, New York, 2013. Rendering: Andreas Tjeldflaat.

    James Turrell

    This continent-spanning presentation befits James Turrell, an artist who addresses spatial, architectural, and geographic context on scales both intimate and vast.

    With works ranging from small enclosures to volcano-size constructions, James Turrell has spent more than four decades crafting spaces in which to contemplate natural and artificial light. Beginning this April, three institutions in as many cities will work in concert to present a retrospective: The MFAH will gather a suite of the artist’s light projections and installations from 1967 to today; LACMA’s sprawling chapter will feature almost fifty drawings, photographs, models, and holograms; and in his first

  • Maria Nordman, untitled, 1979, mixed media. Installation view, Berkeley Art Museum, Berkeley, CA.


    SOME YEARS AGO, Rosalind Krauss used Frank Stella’s and Ad Reinhardt’s black paintings, respectively, to discern “two different minimalisms,” the latter of which amounted to a Zen-like examination of perception, “an expanding, pulsing awareness of the visual process itself.” In short, Krauss carefully distanced Stella and the New York Minimalism he influenced from the work of Robert Irwin, James Turrell, and others who, as she saw it, acknowledged Reinhardt’s metaphysics, privileged an atmospheric California sublime, and embraced an unmediated sensory plenum. Published in 1991, Krauss’s essay