In this keynote lecture for "Strict Beauty: Sol LeWitt Prints," exhibition curator David S. Areford discusses how Sol LeWitt (1928-2007) embraced printmaking in earnest in 1970, quickly homing in on the medium's inherent technical and procedural properties that best served his particular brand of conceptual art.
Small is working on a book that takes as its point of departure the Brazilian artist Lygia Clark’s concept of “the organic line.” Small suggests that Lygia Clark’s concept regarding this line compels us to reconsider fundamental terms such as medium, mark, and edge, while providing a model for transforming linear and comparative models of art history into topological formations. These formations, in turn, mutually deform the “center” and the “periphery.”
Clark Fellow Lisa Lee (Emory University) considers contemporary artist Thomas Hirschhorn’s strategies and motivations for using unorthodox modes of circulation—gifting, pamphleting, hawking, abandoning—in pursuit of a nonexclusive audience for his work. By setting his work in movement across Paris, Hirschhorn’s experimental incursions into public space increasingly tested the possibility of meaningful communication.
Pianist Jeewon Park and cellist Edward Arron, co-directors of the Clark Art Institute's Performing Artists in Residence program, play Arvo Pärt's "Spiegel im Spiegel" in a private presentation at the Clark Art Institute, Williamstown, Massachusetts.
Montreal-based artist Erin Shirreff shares with us a conversation about her latest body of work Sculptures and Their Shadows, currently a solo-show at Sikkema Jenkins & Co. in New York, as well as her current exhibition at the Clark, Remainders.
