Lucy + Jorge Orta, OrtaWater – Fluvial Intervention Unit, 2005
Food – Water – Life / Lucy + Jorge Orta
August 16 – December 6, 2014
This exhibition is the U.S. premiere of the Orta’s work, and was curated by Judith Hoos Fox and Ginger Gregg Duggan (c2 |curatorsquared) and organized by the Tufts University Art Gallery.
The sculptures, drawings, installations and video by this Paris-based wife and husband duo collectively explore major concerns that define the 21st century: biodiversity, environment, climate change and communication. At the same time, this work embodies the philosophy that steers their pioneering art practice, ‘the ethics of aesthetics.’ As heirs to the practice of social sculpture, formulated by Joseph Beuys in the 1960s, the Orta's works are relics of their own function—beguiling assemblages that are the platform for the preparation of food, mechanisms that actually purify water, and elements created for a 2007 expedition to Antarctica that are part of an effort to amend the 1948 Universal Declaration of Human Rights. The works in this exhibition are metaphors-in-action, constructions that perform the tasks of which they are emblematic.
These humorous, jerrybuilt contraptions are obviously not the most efficient means to purify, prepare and transport food and water, or to launch a world-wide humanitarian effort, but in their ability to actually function, albeit, awkwardly and haltingly, they gain power as works of art created to move us to awareness and action. The artists' unique visual language tackles the major global issues affecting our lives and the precarious position of this planet. As the Orta’s artwork communicates widely to audiences beyond the field of contemporary art, it demonstrates the importance of art as a creative agent for awareness and change.
Working in partnership since 2005, Lucy+Jorge Orta create, produce, and assemble their artworks and large installations together with a team of artists, designers, architects, and craftspeople. They stage on-location workshops, ephemeral interventions, residencies, and master classes, which explore the crucial themes of the contemporary world: the community, autonomy, dwelling, migration, sustainable development, and recycling. Their work has been the focus of important survey exhibitions in major museums, including the Barbican Art Gallery, London; Modern Art Museum, Paris; Museum of Contemporary Art, Sydney; Museum Boijmans Van Beuningen, Rotterdam; Hangar Bicocca, Milan; as well as the Venice, Havana, and Johannesburg Biennales.
Angie Bray, Looking Out going fast, 2010
Angie Bray: Shhhh...
January 17 – March 22, 2015
Opening Reception: January 24, 4-6pm
James Aldridge, The Gathering, 2010
Dusk to Dusk: Unsettled, Unraveled, Unreal
Apr 11 - July 26, 2015
Dusk to Dusk is a sublimely curated exhibition that acknowledges the "unsettled, unraveled, unreal" in contemporary experience. Drawn from a single private European collection, Dusk to Dusk presents thirty-two powerful and haunting works by renowned contemporary artists who examine issues of individual isolation, political repression, and collective ennui in the decline of the industrial age. Curated by Richard Rinehart, Director, Samek Art Gallery, Bucknell University, the exhibition features the work of Louise Bourgeois, Gilbert & George, Richard Long, Edward Burtynsky, Hiroshi Sugimoto, Erwin Wurm, Erwin Olaf, James Aldridge, Salvador Dali, Tony Cragg, Marcel Dzama, Matthew Day Jackson, and Ruud van Empel among others. Toured by Curatorial Assistance Traveling Exhibitions.
Ralph Bacerra, Untitled Bowl, 2007
Exquisite Beauty: The Ceramics of Ralph Bacerra
September 26 – December 6, 2015
"Little attention has been given to the second wave of innovation that transpired at the Otis clay studio when Ralph Bacerra became director of ceramics (1983-1996)"
Bacerra was recognized early in his career as a key artist working in ceramics by two major publications, American Ceramics: 1876 to The Present by Garth Clark (1987) and The History of American Ceramics: From Pipkins and Bean Pots to Contemporary Forms, 1607 to the Present by Elaine Levin (1988). More recently, his work appeared in several significant ceramic exhibitions at the Los Angeles County Museum of Art in 2000, Newark Museum in 2003, and the Museum of Fine Arts, Houston in 2012. Despite this acknowledgement, Bacerra’s work remains underrecognized and underdocumented, having lacked a major survey, mid-career, or retrospective devoted entirely to his prodigious output and vast influence. Until now. Exquisite Beauty brings together more than 60 examples of his finest works, showcasing dramatic, highly decorated vessels and sculptures that have never before been the focus of a major exhibition. These masterworks, along with a fully illustrated catalog, illuminate the extraordinary creative vision of one of the key ceramic artists of our time.
Curator: Jo Lauria, Independent Decorative Arts Curator and Scholar. Exhibition Designer: Michael Patrick Porter. Sponsors to date: Friends of Contemporary Ceramics, Lois Boardman Family Foundation, Joan Takayama-Ogawa, Sue Wilson Keanne, and Lin Werner.
A traveling exhibition is being planned. If you are interested in hosting Exquisite Beauty between 2016-2018, please contact the gallery for a prospectus.
Ensure the artistic legacy of Ralph Bacerra. Make your gift now to support the exhibition Exquisite Beauty: The Ceramics of Ralph Bacerra, September 26 - December 6, 2015 at the Ben Maltz Gallery.
Freeway Studies #3: In the Loop
Freeway Studies is a multi-year, contemporary art-focused curatorial project organized by Meg Linton, and launched with the assistance of Jeseca Dawson, 2012-2014 Curatorial Fellow, at the Ben Maltz Gallery at Otis College of Art and Design.
In the Loop will feature work by 25-30 contemporary artists whose studios are located inside the border defined by the following freeways: I-I10, I-110, and I-5. The impetus for this curatorial endeavor continues to be an effort to survey, one studio at a time, the neighborhoods and networks of artists working in Los Angeles. Starting in June and ending in December 2014, Linton and the 2014-16 Curatorial Fellow are visiting with as many artists as they can within the designated area and documenting each visit on the project blog. This dérive breaks out of existing curatorial preconceptions and knowledge to expand the analog network between curator, artist, and institution. Geographic parameters, along with word-of-mouth referrals, are used to ping-pong from studio to studio, shifting the confines of the existing paradigm.