Kamrooz Aram
Green Memorial, 2017
Green marble, linen on mdf, ceramic, brass
Overall: 13 × 14 × 14 in. (33.02 × 35.56 × 35.56 cm)
Courtesy of the Artist and Green Art Gallery, Dubai
Photograph by Kevin Todora
Kamrooz Aram
Ornament for Extraordinary Architecture, 2018
Oil, wax, oil crayon and pencil on canvas
Overall: 78 × 168 × 1 5/8 in. (198.12 × 426.72 × 4.13 cm)
Unframed: 78 × 44 × 1 5/8 in. (198.12 × 111.76 × 4.13 cm) each Courtesy of the Artist and Green Art Gallery, Dubai
Photograph by Kevin Todora
"Sherburn and his collective have created a perfect soundtrack for the movie playing out your car window on any drive west of San Angelo." Texas Monthly
I think you and I both fell hard for Jeff Shore and Jon Fisher’s room, which is motion-activated, and the sound aspect of it is crucial. Though they’re also the ones who completely obliterated their cylinder by building a square video projection room inside it. Those guys are so, so good. Christina Rees in “A Conversation About Art and the Silos on Sawyer,” Rainey Knudson and Christina Rees, Glasstire, October 30, 2017
Awareness can feel like a bright island in an ocean of namelessness. The unthought and the unseen wash the shores, leaching into the ground of the mind under sagging frames of reference. There is endless erosion of the coastline, a subversive give-and-take. Objects are soaked with feelings and their identities compromised. Abstractions are contaminated. “Land” in Land, ed. Carroll Dunham (New York: Nolan/Eckman Gallery, 1989). Reprinted in Into Words: The Selected Writings of Carroll Dunham
Tempest Trio
“One of the greatest concerts I have heard in my life…They have been compared to the legendary trio of the late pianist Arthur Rubinstein, violinist Jascha Heifetz and cellist Gregor Piatigorsky in the 1940’s. I thought this was an exaggeration until I heard them.” Reading Eagle
The New York Times called American composer and harpist Hannah Lash’s work “striking and resourceful…handsomely brooding,” raving “you hoped to hear it again.” And artists have certainly agreed; her works have been commissioned by numerous orchestras and string quartets, including the Los Angeles Philharmonic, Minnesota Orchestra and JACK Quartet, and performed at the country’s top venues, such as Carnegie Hall, Disney Concert Hall, (Le) Poisson Rouge, Tanglewood Music Center, and Aspen Music Festival.
Ron Mueck’s hyper-real sculptures of the human figure are tender portrayals of people in their most intimate, isolated and vulnerable moments. Manchester Art Gallery on the 2008 ARTIST ROOMS exhibition featuring the work of Ron Mueck
Michael Auping is one of the most significant curators of our generation. Through his exhibitions and writings, he has chronicled many of the leading artists of the last decades—often producing definitive treatments on artists from Lucian Freud, Georg Baselitz, and Anselm Kiefer to Frank Stella, Susan Rothenberg, and Bruce Nauman. Auping’s “secret sauce” is his ability to enter the minds and lives of artists, thus grasping not only the artwork itself but its conception, process, and facture. Adam Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art
