Elizabeth Murray’s Visual Language in Her Story

Her Story embraces the geometric. The abstract work is composed of three angular canvases conceived together as one. Dissident triangles and rectangles are placed throughout the composition and painted in bright blues, greens, reds, purples, yellows and oranges. The layered canvases pop the painting out from laying flat against the wall and give the work a sculptural quality.

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The West Coast premiere of Julian Rosefeldt’s “Manifesto”

Actor Cate Blanchett recites these words, taken from Tristan Tzara’s Dada Manifesto 1918 in a declaration mash-up that intersperses material from Karl Marx’s The Communist Manifesto (1848) and Philippe Soupault’s, Literature and the Rest (1920). This is the prologue to Julian Rosefeldt’s 13 channel cinematic installation, “Manifesto,” featuring Blanchett enacting thirteen dramatically diverse personas, each remixing excerpts from artist manifestos throughout the canon of modern Western art history.

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Takesada Matsutani: A Drop in Time

An almost opalescent blue form drips down the black canvas in this work by Takesada Matsutani (Japanese, b. 1937). Made from vinyl glue that is poured on the canvas then allowed to dry to create a film, Matsutani then uses his own breath to inflate the form and rupture the skin so that is evokes open wounds reminding us of drops of blood.

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Roland Kulla’s Queens Plaza

When we look at the paintings of Robert Kulla we see not only urban landscapes with their moving parts – subways, bridges, taxis – we see the shapes they form. When creating a composition Kulla finds the abstract in his framing. In Queens Plaza, Kulla uses the green painted train tracks to guide our eye to the turning subway car, but he is also exploring the angular and rectangular shapes implicit in the construction.

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