• Nayland Blake, Tool Box Again, 2012, nylon banner, ribbon, LOVE candle, faux candle with electric bulb, 15' x 24' x 4' 6".

    Nayland Blake

    Yerba Buena Center for the Arts/ Gallery Paule Anglim

    Get together, reuse, remember, give something away: These are feel-good values, even if rubber bondage masks may be among the souvenirs. Nayland Blake’s recent pair of shows played ebulliently with innuendo. But “FREE!LOVE!TOOL!BOX!,” a group of interlocking installations at Yerba Buena Center for the Arts, really did mean to proffer a tool kit for sustaining communal pleasures. Running concurrently at Gallery Paule Anglim, a miniretrospective—comprising just four works—was titled “Not Drowning, Waving.” Twenty-six years into his career and counting, Blake inverts Stevie Smith’s darkly

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  • View of “James Sterling Pitt,” 2012.

    James Sterling Pitt

    Eli Ridgway Gallery

    In her 2011 book Under Blue Cup, Rosalind Krauss understands artistic medium as “a form of remembering”—a metaphor made poignant by the loss and recuperation of self she experienced following a brain aneurysm (a disruption the book both describes and, in its fragmented, aphoristic form, mirrors). Like Krauss, artist James Sterling Pitt also underwent intensive physical and cognitive rehabilitation after a brain injury, and, in the wake of this sudden change in state, he too allowed the disorientation to inform his work, specifically by adapting his art to function as a mnemonic system.


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