• “Take It or Leave It: Institution, Image, Ideology”

    Hammer Museum
    10899 Wilshire Boulevard
    February 9–May 18, 2014

    Curated by Anne Ellegood and Johanna Burton

    While appropriation and institutional critique—two of the dominant artistic strategies of the late 1970s to early 1990s—are both invariably traced back to their roots in Conceptual art, scholarship has rarely investigated the intersections of these practices or the shared aesthetic, political, and theoretical engagements of the artists we divide between them. “Take It or Leave It” wants to rethink the way we have historicized the period, arguing that the two categories and their practitioners are in fact inextricably linked. With some 120 works by thirty-five artists—from Judith Barry to David Wojnarowicz, Tom Burr to Fred Wilson—this exhibition will not only revise our received histories of the past four decades (as discussed in catalogue essays by Ellegood, Burton, George Baker, Julia Bryan-Wilson, Gavin Butt, and Darby English) but will also respond to recent curatorial takes on the critical and appropriative practices of the era.

  • Helen Pashgian, Untitled (work in progress), 2012–, acrylic, each 91 x 18 x 21".

    Helen Pashgian, Untitled (work in progress), 2012–, acrylic, each 91 x 18 x 21".

    “Helen Pashgian: Light Invisible”

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    March 30–June 29, 2014

    Curated by Carol Eliel

    Helen Pashgian’s work stood out in the 2011 “Phenomenal: California Light, Space, Surface” exhibition at the Museum of Contemporary Art, San Diego. Her curved acrylic disk from 1970 throbbed and pulsed with the mesmerizing force of an Apple power button. And over the past forty years Pashgian has continued her study of plastic’s potential, bending space in a variety of directions and pointing a bright light toward the present day. For her upcoming show in Los Angeles, Pashgian presents a new installation comprising twelve white acrylic columns that seem to float like upright drones or levitating refrigerators. If Light and Space once signified the wedding of advanced technology to expanding modes of perception, in Pashgian’s view this California ethos now appears classical. Travels to the Frist Center for the Visual Arts, Nashville, Sept. 26, 2014– Jan. 4, 2015.