by Scott Indrisek, BlouinArtInfo, September 18, 2015
Expo Chicago, held in the almost charmingly down-at-heels Navy Pier, continues to be a solid contender on the never-ending art-fair circuit, drawing blue-chip galleries like David Zwirner and White Cube while giving ample attention, via its Exposure roster, to pluckier talent — which means revelatory finds at price points in the low thousands.
Download PDF: KaviGupta_Review937.pdf
by Sky Arte HD, La Natura Creatrice di Roxy Paine e Meg Webster, June 14, 2015
Nella cornice di Villa Menafoglio Litta Panza, a Varese, il FAI – Fondo Ambiente Italiano presenta la mostra Natura naturans. Roxy Paine e Meg Webster (Opere dal 1982 al 2015) a cura di Anna Bernardini, direttore della villa e della sua collezione, e il critico d’arte Angela Vettese.
Sino al 28 febbraio 2016, l’architettura settecentesca e il suo rigoglioso giardino all’italiana ospiteranno 20 installazioni realizzate dai due artisti in oltre trent’anni di attività, attorno al tema della natura come principio primo della vita.
Alcuni lavori sono stati realizzati in situ e progettati appositamente per un dialogo diretto con la natura circostante, l’architettura e l’arte contemporanea custodita nella villa. Altri, invece, sono prestiti provenienti da collezioni private e istituzioni internazionali come il Guggenheim Museum e il Whitney Museum of American Art di New York, l’Israel Museum di Gerusalemme, il De Pont Museum in Olanda e il Panza Collection Archive di Mendrisio.
Dell’artista newyorkese Roxy Paine sono esposti alcuni lavori della serie Replicant: si tratta di composizioni – disposte sia sul pavimento che sulle pareti espositive – in cui alghe, funghi velenosi, muffe e fiori sono replicati utilizzando resine sintetiche, lacche, polimeri e vernici industriali.
Meg Webster, californiana ma newyorkese d’adozione, lavora invece assemblando veri e propri monumenti dedicati alla terra. Per la mostra a Villa Panza, ha riprodotto una delle sue opere più conosciute, l’installazione in legno Stick Spiral del 1996.
Download PDF: KaviGupta_Review910.pdf
by Peter Kenter, Compartment Earth touches down at RBC WaterPark Place, May 28, 2015
Construction of RBC WaterPark Place III on Toronto’s Queens Quay wasn’t complete until the world was delivered to its lobby last December. In this case, the world was represented by Compartment Earth, a 16,000 pound stainless steel sculpture conceived by American artist Roxy Paine.
Compartment Earth touches down at RBC WaterPark Place
The sphere measures about 12 feet in diameter and was fabricated at Brooklyn’s Kammetal Inc., a full-service metal fabrication company specializing in architectural and ornamental metals.
Among Kammetal’s signature projects was the construction of the stainless steel and glass encapsulation of the One World Trade Center beacon.
The fabrication of Compartment Earth took place over six months under the care of lead fabricator Joshua Sledge, manager for special projects at Kammetal. The stainless steel plates were waterjet cut with precision and rolled into curved shapes around a hollow core. The fabrication process employed the labour of five skilled metalworkers and two assistants.
When completed, Compartment Earth was shipped to the Barrie offices of Western Mechanical Electrical Millwright Services Ltd. where it was placed in storage until construction at RBC WaterPark Place III was sufficiently completed. It was delivered by tractor trailer to Toronto in mid-December on behalf of Western Mechanical’s client, Lorvin Steel Ltd.
“For the sake of safety we assumed the load of the sculpture would be 20,000 lbs. instead of the advertised 16,000 lbs.,” says Mark Carney, a structural engineer with Western Mechanical.
“We had to begin by removing some of the plate glass panels from the front of the finished building so that we could bring the globe inside. The doors simply weren’t tall or wide enough to bring it straight in.”
The floor in the lobby is located directly above the switchgear and transformer rooms of the building.
“The floor wouldn’t have likely supported both the globe and a forklift if we’d brought it in directly,” says Carney.
“Instead, we built a set of tracks from Queens Quay outside, right to the base plate that was already set up in the lobby. We used hardwood blocking underneath the rails to disperse the weight of the assembly and to protect the marble floor.”
An aluminum tube dolly was placed on the tracks and the sculpture was lifted outside by forklift onto a skid fitted to the dolly.
“We were able to just roll it into place along the tracks, then used small hydraulic jacks to lift it into its final resting place,” says Carney.
“There, we used anchor bolts to fit it to the base plate in the proper orientation.”
Members of the team who moved the steel globe into place may not have found themselves any closer to answering the question “what is art?”
But they did leave with bragging rights. Who else could claim to have moved the world on a Saturday night?
Download PDF: KaviGupta_Review917.pdf
Haha Magazine, December 15, 2014
We are late with this article and we know it. It’s just possible that this list got held up because we were reading everyone else’s Basel lists. They were clever, entertaining and made us cringe when we realized we had not ‘in fact’ seen everything Basel had to offer.
Download PDF: KaviGupta_Review870.pdf
by David Brody, Artcritical, October 08, 2014
Sculpture once had no other task than to render convincing simulacra of passing phenomena in permanent materials. If this is “familiar conceptual territory,” as Ken Johnson wrote in his New York Times review of Roxy Paine’s current exhibition at Boesky, all the more impressive is Paine’s relentless, scrupulous, and highly personal exploration of it. Superstars from Ai Wei Wei to Jeff Koons are using sculptural substitution effectively, if indeed familiarly, with herds of lesser lights toiling in the genre. But for more than 20 years, Paine has been digging deep: his abiding interest is in how the ideal transformation from one material into another is achieved, and why the artist’s physical touch keeps hanging around as part of the answer. On the one hand, Paine has painstakingly hand-crafted botanical portraits of astounding variety and detail, and on the other, he has engineered machines that produce gorgeous, or in some cases intentionally grotesque, sculptures, paintings and drawings, works whose authorship is thus unstable. Paine is both the John Henry of contemporary art and the machine against which he is racing.
Download PDF: KaviGupta_Review794.pdf
by Jonathan Goodman, Sculpture Magazine, October 2014 Issue
Roxy Paine has won considerable attention from the art world for various bodies of work, including stainless steel tree forms (dendroids); arrangements of psychedelic and poisonous mushrooms, as well as artificially made, weed-choked gardens (replicants); and machines that make drawings, paintings, and sculptures. His sensibility focuses on an aesthetic in which the artifi cial becomes a reality based on natural forms, but which, in turn, allows ·itself to be copied or created anew as a cultural artifact. Sometimes the forms are compellingly exact, as in the case of the dendroids and mushroom fields; and sometimes the work is outstandingly ersatz, as in the excrement-like, layered forms extruded by Paine’s computer-run machinery. In most cases, he contrasts the manmade with the compositions of nature, bringing them together in sculptures that assert their presence through mimicry though it is clear from his installations of machinery that he is as interested in deploying technology as he is in imitating the natural world. The contrast - or better yet, the tension- between the original and the replica lends itself to an ongoing debate about whether the constructed world has now surmounted the natural one. In Paine’s work, it seems as though both scenarios, artificial and unprocessed, receive equal attention, indeed are bridged by his creativity and technological bias.
Download PDF: KaviGupta_Review790.pdf
by Benjamin Solomon, Architectural Record, October 03, 2014
The mania surrounding the release of the iPhone 6 would have you believe the device might cure cancer or create world peace. Part science, part magic, we seem to be in awe of it and the onward march of progress it encapsulates—especially when it’s made by Apple. But strip away the marketing babble, the shine, even the color, and you’ll find it’s shape and size eerily mundane. It’s an object that would be at home in the new Roxy Paine show Denuded Lens, on view now at Marianne Boesky Gallery in New York through October 18.
Download PDF: KaviGupta_Review789.pdf
by Rob Wilkes, We Heart, September 22, 2014
How often we have all stood in the snaking line of an airport security check, shuffling incrementally towards the hulking form of a baggage x-ray machine and the invasive sweeping eye of a body scanner? Slowly but inevitably we are pushed forward like an animal on a processing plant conveyor belt, towards those machines which seem to sit inert, doing all their nasty business behind plastic walls and mysterious curtains. Bothered by an irrational anxiety that the alarm will sound and you won’t make it out of the other side.
Download PDF: KaviGupta_Review776.pdf
by The Editors, The Architect's Newspaper, September 22, 2014
The artist Roxy Paine has long been interested in exploring combinations of the natural with the mechanical or manmade. In his latest exhibition, his first at the Marianne Boesky Gallery, called Denuded Lens, he has created a large-scale diorama of one of the more mundane but intrusive spaces of contemporary life: the airport security screening area.
Download PDF: KaviGupta_Review779.pdf
by Scott Indrisek, Blouin ArtInfo, September 22, 2014
The third edition of EXPO Chicago brought a well-rounded and impressive roster of international galleries to the city’s Navy Pier, many of whom weren’t afraid to showcase difficult work. The booths were complemented by Independent Curators International executive director Renaud Proch’s companion program, In/Situ, which brought generally massive sculpture and installations into the space, including a looming tornado of colorful plastic cast-offs by Jessica Stockholder.
Hometown heavyweight Kavi Gupta hung gritty, neon-inflected abstracts by Scott Reeder in his booth, paired with equally colorful figurative paintings by Jose Lerma. The Chicago-based dealer — who opened gallery shows by Glenn Kaino and Mickalene Thomas this same weekend — also had a fantastic 2007 Roxy Paine sculpture that sat on its plinth like a sad mass of malevolent licorice.
Download PDF: KaviGupta_Review772.pdf
by Brian Boucher, Art in America, September 20, 2014
But most of the fair was geared toward commerce, and dealers were cautiously optimistic that the Windy City marketplace, now in its third year, would yield up sales.
“Everyone is bringing their A game,” said Chicago dealer Carrie Secrist.
by Mary Romano, Bloomberg, September 20, 2014
Shaquille O’Neal pointed to a photograph of one family’s group portrait and an enlarged mug shot of a young woman with tiny words imprinted that could only be seen up close.
“I like to look at art,” the 15-time National Basketball Association All-Star said, explaining why those works appealed to him as he was surrounded by schoolchildren and photographers. “I like to try to figure it out and what’s going on with it. I like art that makes people ask questions.”
Download PDF: KaviGupta_Review774.pdf
by Dhruv Sud, Complex, September 23, 2014
This October, Red Bull Studios in New York will be premiering a new exhibition entitled “Spaced Out: Migration to the Interior” curated by world renoued artist, writer, and publisher Phong Bui. In the press release, Red Bull Studios describes the exhibition as an “exploration of psychedelic consciousness” that blurs the boundaries between the “dream world as reality” in order to challenge our everyday perceptions. The collection features a range of artists whose work delves into the disorientating and fantastical world of psychedelics, time, trances, illusions, and theories.
Download PDF: KaviGupta_Review768.pdf
by Alissa Walker, Gizmodo, September 18, 2014
Would a trip through airport security be a little better if it looked like this? Roxy Paine, a New York artist, has painstakingly whittled every last detail of a TSA checkpoint, rendering everything from the X-ray monitor to the plastic boxes for our belongings in smooth, sanded maple.
Download PDF: KaviGupta_Review762.pdf
by Ben Davis, Artnet, September 17, 2014
You’d have to have a heart of the hardest, most impossible-to-carve stone not to think the sculptures in Roxy Paine’s new show “Denuded Lens,” are at least cool. The centerpiece of the Brooklyn-based sculptor’s gallery exhibition, an installation called Checkpoint (2014), is a marvel, a fantastically detailed rendering of an airport checkpoint, everything from the garbage cans to the scanner machine carved in fluent detail out of maple wood, so pale and perfect that it seems apparitional.
Download PDF: KaviGupta_Review763.pdf
by Simon Martin, Solidsmack, September 15, 2014
Previously, SolidSmack reported on Norwegian designer Stian Korntved Ruud and his commitment to carving one spoon per day for a full year. While carving 365 entirely unique wooden spoon designs in a year is dang impressive, artist Roxy Paine’s recently-opened art exhibition ‘Denuded Lens‘ is up there with the rest of them for ‘cool stuff done with wood’.
Download PDF: KaviGupta_Review750.pdf
Juxtapoz, September 15, 2014
New York-based visual artist Roxy Paine has a solo exhibition at the Marianne Boesky Gallery in New York, Denuded Lens. He has recreated an entire airport security checkpoint out of wood.
“The interplay between the natural world and the built environment is very interesting to me. That paired with the human desire to control nature and nature’s indifference to that desire. Using wood as a medium exemplifies nature contained and contrived.”
Download PDF: KaviGupta_Review754.pdf
by Ken Johnson, The New York TImes, September 11, 2014
Roxy Paine is known for technically ambitious sculptures, like trees made of stainless-steel tubes, and computer-controlled machines that produce globby plastic sculptures. Lately he has taken to woodworking, creating realistic objects that look as if they had been transformed by a Midas with a wooden touch.
Download PDF: KaviGupta_Review748.pdf
by Peter Plagens, The Wall Street Journal, September 12, 2014
For a while now, “amazing” has been the art world’s inflated, all-purpose substitute for the words “good” and “interesting.” Although the works of very few artists actually qualify for the adjective, the most recent pieces by Roxy Paine (b.1966) do. A couple of decades ago, Mr. Paine exhibited a machine that flung blank placards across a gallery. From there, he progressed to cast-resin renditions of psychotropic mushrooms, stainless-steel trees (one in a Whitney Biennial, another in the roof garden of the Metropolitan Museum of Art), and sculptures of wooden machines made via computer modeling along with carving by hand.
Download PDF: KaviGupta_Review755.pdf
by Amy Lewin, It's Nice That, September 11, 2014
New York-based visual artist Roxy Paine has achieved the mind-boggling feat of recreating an entire airport security checkpoint out of wood. This follows on from the mysteriously named Machine of Indeterminacy and Scrutiny and takes his maple masterpieces to a new degree of complexity. Sadly, he declined to tell me just how many trees went into the making of Checkpoint, which is part of his solo exhibition Denuded Lens at the Marianne Boesky Gallery in New York, but he has answered a few more sensible questions about just how he creates his crazily intricate works which explore “the discourse of the diorama.”
Download PDF: KaviGupta_Review747.pdf
by Lizanne Merrill, Art Lyst, September 09, 2014
Roxy Paine is off to a strong start for his first show at Marianne Boesky Gallery. All the new work is hand carved meticulously (by him) in maple wood. Apparently, he is self trained in wood carving and spent hours upon hours for over a year preparing for this show. Paine presents new examples of his recent maple wood sculptures, which are depictions of hybrid machine-like objects. The show stopper though is a large diorama titled ‘Checkpoint’ built into a wall constructed in the main gallery. It is a painstakingly accurate replication of a typical TSA airport security check point (with No lines!).
Download PDF: KaviGupta_Review746.pdf
by Daniel Guass, Arte Fuse, September 08, 2014
The folks who saw Roxy Paine’s opening at Marianne Boesky Gallery were blown away by the raw visual impact of seeing various types of complex machinery intricately carved out of maplewood. The centerpiece of Paine’s show, which dazzled everyone, is his huge diorama of an airport security scan checkpoint. Through this Paine invites an investigation of how the threat of world terrorism has trickled down to penetrate each of our lives and how this threat may be used or may play into the larger picture of how, using Foucault here, our bodies are further controlled and disciplined by various forces in society. Is this security system benign and meant to ensure safety or does it have ulterior consequences?
Download PDF: KaviGupta_Review743.pdf
by Pei-Ru Keh, Wallpaper, September 05, 2014
American artist Roxy Paine’s exhibition at New York’s Marianne Boesky Gallery is inspired by an unlikely muse: an airport security checkpoint.
Shown alongside wooden sculptures of mechanical objects that comment on labour, ‘Checkpoint’ is a near life size replica of its namesake, which Paine sees as representative of both banality and larger social anxieties. The familiar scene, which has been made entirely of maple wood and supported by an aluminium structure, is rendered in minute detailed.
Download PDF: KaviGupta_Review738.pdf
by Will Corwin, The Brooklyn Rail, September 04, 2014
Will Corwin has spent the last three years ferreting out Roxy Paine in his various habitats—upstate in Delhi, New York, and in his Long Island City and Maspeth studios—watching the progress of various works of art and attempting to develop a taxonomy of the various strains and tropes into which his ideas fall. Together in numerous discussions the artist and his interlocutor have sifted through the strata of meaning that the artist has laid down over time. Paine’s works oscillate between the overwhelmingly familiar and the disarmingly foreign. On the one hand he presents things exactly as they are, and stands back to enjoy the inherent impossibility in a field of perfectly replicated Psilocybe cubensis mushrooms sprouting from a wooden gallery floor, while on the other hand he reconfigures the fundamental definitions of what we think we know and then conjures up objects—or even better—has robots make them in front of us—and labels them “painting” or “sculpture,” forcing the viewer to reconfigure their perception of what those things really are.
Download PDF: KaviGupta_Review739.pdf
by Brian Boucher, Art in America, September 04, 2014
Brooklyn-based sculptor Roxy Paine sipped a cup of tea as he welcomed the press to his new exhibition at Marianne Boesky Gallery in Chelsea this morning. The show’s whopping, 26-foot-wide centerpiece, Checkpoint (2014), a diorama depicting an airport security station, must have accounted for a sizable portion of that year. The artist himself couldn’t say how many separate pieces make up the work, which offers a compelling vision of the site of much of today’s so-called “security theater.”
Download PDF: KaviGupta_Review737.pdf
Art Media Agency, September 04, 2014
“Denuded Lens”, an exhibition of solo works by the American artist Roxy Paine is to be held at the Marianne Boesky Gallery, New York, from 4 September until 18 October 2014, most notably featuring the work Checkpoint.
Download PDF: KaviGupta_Review734.pdf
by Susan Cheng, Complex, September 04, 2014
Check out all of The Best Art Exhibitions to See This Month.
“I was born to do great things”
Location: Kavi Gupta Gallery, 835 W. Washington Blvd., Chicago 60607
Dates: Sept. 19 - Nov. 15, 2014
Location: Marianne Boesky Gallery, 509 W. 24th St., New York 10011
Dates: Sept. 4 - Oct. 18, 2014
Download PDF: KaviGupta_Review735.pdf
by Liz Logan, ARTnews, September 02, 2014
With his scruffy beard and black leather jackets, Roxy Paine has long attracted unwanted attention from police and security personnel, especially at airports. When the scrutiny intensified after 9/11, he became fascinated by the workings of security, which ultimately moved him to create his latest work: a life-size, forced-perspective diorama of a Transportation Security Administration checkpoint, complete with trays, conveyor belts, and scanners—all rendered in wood.
Download PDF: KaviGupta_Review733.pdf
by Johnny Magdaleno, The New York Times Style Magazine, September 01, 2014
Thursday, New York
View machinery transformed into fine art. Roxy Paine’s sculptures render mechanic processes in unexpected textures and materials. In “Checkpoint,” which will be on display at his first show with Marianne Boesky Gallery this Thursday, Paine has created a perfect replica of the classic airport security checkpoint, crafted entirely out of wood.
Opening reception 6 p.m. to 8 p.m., Marianne Boesky Gallery, 509 West 24th Street, marianneboeskygallery.com.
Download PDF: KaviGupta_Review732.pdf
by Ken Johnson, New York Times, August 07, 2014
To view “Bloodflames Revisited,” an incendiary show of works by more than two dozen artists, you step up an inclined plane onto a wooden runway painted red. At 293 10th Avenue, the runway forks into separate adjacent galleries; in the shoebox-shaped 515 West 27th Street space, it goes straight from front to back. In both galleries, the floors are strewn with straw, and the walls are painted yellow. You’d think this environment would overwhelm the works in the show, but it has the opposite effect: Everything looks great.
At 10th Avenue, there are abstract paintings by Bill Jensen and Dorothea Rockburne and a sculpture resembling an outer space satellite by Lee Bul. A mural-scale, animated neon light sculpture in which a man clubs another with a board is by Roxy Paine, working under the influence of Bruce Nauman.
Download PDF: KaviGupta_Review722.pdf
by Lee Ann Norman, Artcritical, August 07, 2014
In March 1947, renowned dealer Alexander Iolas — then director of Hugo Gallery — sought to push the boundaries of curatorial license through a breathtaking environment for modern art in the exhibition “Bloodflames.” The show featured art curated by Nicolas Calas installed in the unconventional Fredrick Kiesler-designed environment filled with bright, bold colors and sloping walls. Works by Gorky, Noguchi, Lam, and Matta among others lay propped against walls, hanging from the ceiling, and jutting out at odd angles. Paul Kasmin, in collaboration with Rail Curatorial Projects, revisited this seminal exhibition through “Bloodflames Revisited,” curated by artist, writer, and Brooklyn Rail publisher Phong Bui.
Download PDF: KaviGupta_Review720.pdf
by Ann L. Fouty, Grosse Pointe News, August 06, 2014
The ever-changing Frederik Meijer Gardens & Sculpture Park in Grand Rapids is a consolidation of experiences for the senses.
The Frederik Meijer Gardens & Sculpture Park is probably best know for the 24-foot bronze cast of Leonardo da Vinci’s anatomically correct horse, unveiled in 1999. It took Meijer’s backing to bring “The American Horse” concept into being by sculpturess Nina Akamu. After a second bronze was cast for Milan, Italy, the mold was destroyed. It is the centerpiece sculpture of the De Vos Van Andel Piazza and culminates a tram ride during which visitors see creations by Chakai Booker, Roxy Paine, Antony Gormley, Henry Moore, Sophie Ryder, Auguste Rodin, George Segal, Magdalena Abakanowicz, Jonathan Borofsky, Mark di Suvero, and Claes Oldenburg, among others.
Download PDF: KaviGupta_Review718.pdf
Artdaily.org, July 18, 2014
Peters Projects presents Temporal Domain, work by six acclaimed contemporary artists who were influenced by living and working in the Santa Fe area. The exhibition will include Lynda Benglis, James Lee Byars, Harmony Hammond, Agnes Martin, John McCracken, and Roxy Paine in the contemporary galleries of the Gerald Peters Gallery, Santa Fe, NM.
Download PDF: KaviGupta_Review704.pdf
by Ashton Cooper, Blouin ArtInfo, June 26, 2014
Paul Kasmin Gallery will open “Bloodflames Revisited,” a 25-artist summer group show that also happens to be Brooklyn Rail publisher Phong Bui’s first curatorial effort since his wildly successful “Surviving Sandy” show of last year. Bui conceptualized the Kasmin exhibition as an homage to the exhibition “Bloodflames,” which was staged under the directorship of Alexander Iolas at Hugo Gallery in 1947. While the original show disrupted the conventional white cube with curved walls and tilted canvasses, Bui took a slightly different approach. When I stopped by the gallery’s W 27th Steet location earlier this week, walls were painted mac-and-cheese yellow, a thick layer of hay covered the floor, and a raised catwalk-like ramp ran down the center of the space. The show includes works by Lynda Benglis, Roxy Paine, Dorothea Rockburne, among others, with just two Kasmin artists — Deborah Kass and Will Ryman — on the roster. In the midst of installation, Bui took a break to talk to us about working with Kasmin, Iolas’s fascinating life, and being inspired by the subway.
Download PDF: KaviGupta_Review670.pdf
by Olivia Swider, Whitewall, June 24, 2014
“Another Look at Detroit” at Marianne Boesky Gallery & Marlborough Chelsea
June 26 – August 9
Opening: June 26, 6 – 8pm
509 West 24th Street & 545 West 25th Street
Curated by Todd Levin in Collaboration with Marlborough Chelsea.
(Featuring Scott Reeder and McArthur Binion)
Mickalene Thomas: “Tête de Femme” at Lehmann Maupin
June 26 – August 8
Opening: June 26, 6-8pm
540 West 26th Street
In her fourth solo exhibition with the gallery, Thomas explores the intricacies of female beauty through painting, collage, and photography, focusing on how artifice serves both to mask and reveal the individual essence of her subjects.
“Bloodflames Revisited” at Paul Kasmin Gallery
June 26 – August 15
293 Tenth Avenue & 515 West 27th Street
Curated by Phong Bui.
(Featuring Roxy Paine)
Download PDF: KaviGupta_Review666.pdf
by Elliott Mickleburgh, Art in Print, May - June 2014 Issue
Roxy Paine’s apparatus for the production of sculptures, Scumak No. 2 (2001), embeds digital fabrication within the history of mechanical reproduction: a large reservoir and trough lead to an extruder head that emits a viscous mixture of lowdensity polyethylene and maroon pigment. Streams of this molten plastic are layered atop one another in a process much like standard 3D printing but considerably less meticulous. The varied sculptures produced by the system sit on a long table that doubles as a conveyor belt while a selection of the pieces is also removed and shown as individual artworks on clean white pedestals.
Paine’s contraption pointedly employs the materials and methodologies of modernism. Plastics, polyethylene in particular, appeared in the 20th century as new materials ideal for the industrial mass production of designed objects. lt is intriguing to see digital tools forgo the necessity of traditional molds and control the manipulation of this material directly. ln lieu of identical items, Paine populates his conveyer belt (another metonym of industrial production) with unique objects, albeit members of a loose edition whose unifying template is the computer code that runs the apparatus. Projects such as Paine’s, which are really generative systems rather than defined objects, endow the artwork with a degree of autonomy somewhat in the manner of the composer John Cage, whose scores were developed through the use of found data sets and chance operations, and demand systematic interpretation from the performers.
Download PDF: KaviGupta_Review640.pdf
by Gabriel Gottlieb, Philly Living, June 12, 2014
The Association for Public Art unveiled a new work of art last Friday evening on the Ben Franklin Parkway. This new outdoor metallic sculpture, titled “Symbiosis,” was fashioned by artist Roxy Paine. It sits on a parcel of green space between Pennsylvania Avenue and Eakins Oval across from The Philadelphian condo building where “Iroquois,” a modern sculpture of red-painted steel, also stands.
Download PDF: KaviGupta_Review648.pdf
by Kristina Jenkins, Uwishunu, June 03, 2014
This Friday, June 6, the Association for Public Art (aPA) introduces a brand-new work of art to the city, and the public is invited out to help celebrate its debut.
Created by renowned New York-based artist Roxy Paine, monumental sculpture Symbiosis will debut to the public for the first time after a more than week-long installation process.
Download PDF: KaviGupta_Review639.pdf
by Mark Byrnes, Citylab, May 30, 2014
World’s Fairs: Lost Utopias, now showing at New York’s Onishi Project, is the work of Jade Doskow, who’s spent seven years traveling to and photographing the grounds of international expositions from the past. The results show a frozen-in-time glimpse of each host nation’s ambitions at the time.
From the nature-loving Flight Cage in St. Louis to the science-inspired Atomium of Brussels, Doskow’s photographs bring out the optimism in each piece of architecture she finds, the kind that often becomes more endearing with age.
We caught up with Doskow via email to find out why she’s so fascinated by World’s Fairs and how the symbolism of their architecture often changes with time:
"Another direction is public art on these sites that responds to the original fair architecture or landscaping, such as in my photograph St.Louis 1904 World’s Fair, “Louisiana Purchase Exposition,” Roxy Paine Tree with Olmsted Tree, 2013. I have come to really love the conversation that happens between these grand, classical fair sites and the things that happen in the here-and-now that responds to the spirit of these places."
Download PDF: KaviGupta_Review631.pdf
by Benjamin Sutton, Artnet, May 27, 2014
After visiting “Alexander the Great: The Iolas Gallery 1955–1987” at Paul Kasmin earlier this year, artist, critic, curator, and Brooklyn Rail publisher Phong Bui was so inspired that he proposed to the Chelsea dealer that they revisit one of famed dealer Alexander Iolas’s most legendary exhibitions. “Bloodflames” took place in March 1947 at Hugo Gallery, where Iolas was a director at the time—he launched his own gallery when Hugo Gallery closed in 1955—and featured an exceptionally unconventional exhibition design.
Download PDF: KaviGupta_Review621.pdf
by Sarah Kleintop, Replace My Contacts, May 21st, 2014
The Most Famous Eyes in Art
A deep and engaging gaze into someone’s eyes stirs something inside of all of us. Some would call it excitement. Many claim it to be a signal of whether that person finds you interesting. Ralph Waldo Emerson wrote “The eyes indicate the antiquity of the soul.”
Since the beginning of time, devotion to the look of a human eye has been portrayed in paintings, sculptures and prose. Standing face to face and looking into the eyes of a portrait of the Mona Lisa, or contemplating the complexity of Escher‘s precise sketch of the eye, reminds us that a glance, catching someone’s eye, or even a stare can be a momentous human experience. Through art, we marvel at the capacity of human beings to express themselves in such intentional, prolific and sometimes painful ways.
Works of art devoted to the human eye do often make us feel that we are viewing the souls and spirits embedded in the frame. In this post we are reminded by some of the most creative and unusual minds of artists, just how beautiful the human eye can be.
Download PDF: KaviGupta_Review614.pdf
by Andrew Russeth, Gallerist NY, May 19, 2014
A winner of Apexart’s unsolicited proposal program, “The Hidden Passengers” takes on the relationship between art and science, and, to quote the news release, “argues that by adopting scientific practices and tools, the participating artists do not ask to understand the world as scientists or merely observe it from the outside, but rather to participate in the world as artists.” Some serious ballers on this artist list, which reads, in full: Mark Dion, Michael Hoepfel & Jenny Michel, Pierre Huyghe (whose A Journey that Wasn’t, of 2008, is pictured in the slide show), Roxy Paine, Tomer Sapir and Guido van der Werve
Download PDF: KaviGupta_Review611.pdf
by Sarah Cascone, Artnet, May 19, 2014
The Association for Public Art is bringing Roxy Paine’s 34-tall, over-1.5-ton Symbiosis to Philadelphia. The year-long installation will open May 27 in Iroquois Park at the northern end of the Benjamin Franklin Parkway.
Download PDF: KaviGupta_Review609.pdf
by Laura Baginski, Timeout Hong Kong, May 14, 2014
Time Out editors across the world give us their highlights of the global array of galleries gracing Art Basel this year...
Kavi Gupta Gallery (1D18)
Specialising in the exhibition of emerging and mid-career artists, Kavi Gupta displays an exciting range of contemporary multimedia work. Highlights include Roxy Paine’s intriguing acrylic sculpture, Tavares Strachan’s encyclopaedic collage and Glenn Akiro Kaino’s photography adorned with gold leaf.
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by Ken Johnson and Martha Schwendener, The New York Times, May 09, 2014
The amazing spectacle that is Frieze New York is up and running on Randalls Island. With more than 190 contemporary art dealers from around the world inhabiting a temporary, quarter-mile-long white tent, it’s a dumbfounding display of human creative industry. Reasoning that in the time allowed, no one reviewer could hope to achieve a comprehensive overview of all there is to see, we both went to look and report. What follows is a sampler of things that caught our attention.
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by Alice Thorson, The Kansas City Star, April 18, 2014
One of the most fascinating shows in New York this season shows how artists, designers and architects are using digital fabrication to create undreamed of expressions in materials ranging from plastic and paper to bronze.
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by Kyle Vanhemert, Wired Magazine, February 28, 2014
Artists have tried all sorts of strategies to get us to think more critically about the systems and spaces that govern the modern world. Roxy Paine’s approach was to carve them out of wood.
For Apparatus, a recent exhibition at the Kavi Gupta gallery in Chicago, the New York-based artist created two striking dioramas–one of a space race-era control room, the other of a fast food restaurant–both made entirely of birch and maple.
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by Hayley Peterson, Business Insider Australia, February 22, 2014
Few people would find artistic inspiration inside a McDonald’s or a KFC.
But that’s exactly where New York artist Roxy Paine went for his latest installation featured in a Kavi Gupta Gallery in Chicago. The work, called Carcass, is a life-sized replica of a fast food joint, carved entirely out of birch wood.
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by Woodworkers Institute, Woodwork Institute, February 25, 2014
Apparatus, the exhibition by New York-based artist Roxy Paine, included large-scale dioramas of a fast-food restaurant and a control room made from hand-carved birch and maple.
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by Adele Peters, Fast Company, February 14, 2014
At first glance, every part of this amazingly detailed wooden sculpture by Roxy Paine looks like a perfect replica of a fast food restaurant. There’s everything from a drink dispenser with cups and lids to a deep fryer and a soft serve machine behind the counter. But as you look closer--if you’re observant--things start to look a little weird.
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by Kyle Macmillan, Chicago Sun-Times, February 07, 2014
While Cleve Carney might never have ranked among Chicago’s most elite art collectors, few, if any, topped his dedication to the pursuit. Because of his uncommon generosity, the Glen Ellyn philanthropist, who died in July, will not soon be forgotten.
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by Sumitra, Oddity Central, February 11, 2014
‘Carcass’ is an odd name for a kitchen, don’t you think? But this isn’t a regular kitchen we’re talking about. It’s a diorama on view at Kavi Gupta Gallery in Chicago. This happens to be artist Roxy Paine’s first solo show, ‘Apparatus’. Carcass is the full-scale replica of a real fast-food kitchen that Roxy made entirely out of wood.
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by Cameron Simcik, Foodbeast, February 10, 2014
Fast food joints have many recognizable features, like deep fryers and soft drink dispensers. Chances are most customers don’t think of this as a beautiful scene, but artist Roxy Paine has transformed it into one. In fact, she’s given us an intimate view of a fast food kitchen through her wood-carved replica.
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by Daniela Walker, PSFK, February 10, 2014
For his now finished solo show, Apparatus, at the Kavi Gupta Gallery in Chicago, artist Roxy Paine created large scale dioramas of environments that are normally brought to life by human interaction.
Carcass is the interiors of a fast food restaurant but without any of the traditional signifiers such as food, grease and signage, instead it is made entirely out of birch and maple wood. The soft serve machine, french fry tray and cash register all become wood still lives – lifeless without the bustle and color of a restaurant. Paine also made a wooden diorama of a control room.
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by Jesus Diaz, Sploid, February 05, 2014
Here's a really cool piece by Roxy Paine, part of his Apparatus exhibit: A full 1:1 scale (McDonald's?) burger kitchen entirely carved of birch and maple—all the way from the deep friers and the soft ice-cream machine to the french fries, soda cups and burger boxes. It's really amazingly well done.
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Juxtapoz, February 05, 2014
Artist Roxy Paine takes the concept of a diorama to a new level, creating life-size recreations of fast-food restaurants or a control room. Payne is inspired by environments that are meant to be activated by human interaction. This installation, titled Control Room, is hand-carved from birch wood, formed with steal, and finished with automotive paint.
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by Alexandra Klausner, The Daily Mail, February 05, 2014
One artist created an intricate model of a fast food restaurant entirely out of wood
Roxy Paine created the piece ‘Carcass’, an installation comprised of two large scale dioramas at the Kavi Gupta gallery in Chicago. This is part of ‘Apparatus’, Paine’s first solo show in Chicago.
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by Christopher Jobson, Colossal, February 05, 2014
When first viewing this large diorama by Roxy Paine, you’re struck by the paradox of what you think you should be seeing and what is actually in front of you. It’s clear this is an expertly executed replica of a fast food restaurant counter complete with order screens, straw dispensers and a soft-serve ice cream machine; but devoid of flashy logos, food, or any other visual cues whatsoever, all that seems to remain is an empty shell—a carcass—carved entirely from birch and maple wood.
Titled Carcass, the installation was one of two large-scale dioramas on view at Kavi Gupta Gallery as part of Paine’s first solo show in Chicago, Apparatus.
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by Jeffrey Kaczmarczyk, Mlive, January 30, 2014
Frederik Meijer Gardens & Sculpture Park is best known for its collection of work by Anthony Caro, Roxy Paine and Claes Oldenburg. But sculpture isn’t the only work in its collection of art ranging from Auguste Rodin and Mark di Suvero to Richard Serra and Dale Chihuly. Some of the most surprising work in Meijer Garden’s permanent collection is about to go on display for the very first time. “Committed to Paper: Master Drawings and Prints by Sculptors,” with 40 works by 20 artists, opens Friday, Jan. 31.
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Ignant, January 30, 2014
With the project ‘Apparatus’ which contains the ‘Control Room’, Roxy Paine introduces a new chapter in his work, a series of large scale dioramas. Inspired by spaces and environments designed to be activated via human interaction, the dioramas present spaces and objects which are hand carved from birch and maple wood and formed from steel. Encased and frozen in time, void of human presence, they’re making their inherent function obsolete. The ‘Control Room’ is a stunning installation made out of wood, steel, automotive paint and glass worth visiting.
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by Fan Zhong, Wmagazine, January 28, 2014
Spaceships have landed in the art world. At the New Museum in New York, the art collective tranzit has transformed the fifth floor into a retro-futuristic space module where works from 117 artists, largely from Eastern Europe, are holding a lively cultural conversation. Meanwhile, at the Kavi Gupta gallery in Chicago, artist Roxy Paine has built a large-scale diorama of a control room out of wood—a fabrication of a fabricated environment. Attention, Daft Punk: your new DJ booths are ready. (Please bring Pharrell. Stevie, too.)
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by D. Creahan, Art Observed, January 23, 2014
Chicago’s Kavi Gupta Gallery is currently showcasing an immense sculptural project by New York-based artist Roxy Paine, a series of sizable wooden dioramas, carved into uncanny models of an unnamed fast-food restaurant, and a control room, filled with switches, faders and television screens.
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PRWeb, January 16, 2014
Frederik Meijer Gardens & Sculpture Park is pleased to introduce some of the most surprising works of the permanent collection in a special group exhibition, “Committed to Paper: Master Drawings and Prints by Sculptors.” The exhibition features Meijer Garden’s growing collection of drawings and prints by sculptors, some relating to sculpture found in the permanent collection, while others reflect the sculptor’s body of work at large.
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by Brienne Walsh, ArtReview, December 2013
If you were asked to create a diorama that represents the social, political and economice conditions of twenty-first century America, what would you put it in? A white kid looking at an iPad hwile his Filipina nannny makes his bed? A group of methheads in the cereal isle of Walkmart? There is so much to cover, as so few ways to do so without being either superficial or offensive. In Apparatus, Roxy Paine does the task justice. Through two full-scale wooden dioramas of a control room (a composite of different kinds: air-traffic control, power plant, recording studio) and the interior of a fast-food restaurant, Paine evokes so much of what drives American society today- control, complacency, greed, excess, ignorance. He does so by replicating the sterile facades of the messy ( and some would say evil) web of systes that enable our comfortable lives. In presenting them here devoid of the human presence that would acivate them, and meticuously hand-carved out of birch and maple, Paine asks us to contemplate their true nature.
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by Anne Prentnieks, Artforum, December 12, 2013
For “Apparatus,” Roxy Paine’s debut solo exhibition in Chicago, the artist presents two large-scale, meticulous reproductions of a fast food restaurant and control room–artworks that explore the viewer’s unconscious recognition of familiar forms by rendering them in natural materials and as static installations. These works—respectively Carcass and Control Room (both 2013)—portray, through subtle details, systematized, conveyer-belt spaces that one recognizes as hyperfunctional: machines that reprocess processed food, screens that display data, the mechanical din of fluorescent lights.
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by Rob Wilkes, We Heart, November 05, 2013
Anyone who has dined in a well-known fast food restaurant and thought their food tasted remarkably like the box it came in will find a connection to Roxy Paine’s wooden replica Carcass – part of grand-scale two part installation, Apparatus – although that would be missing the New York artist’s point a bit. Not a critique on the merits of franchised French fries, Paine’s large scale diorama is more a meditation on the obsolescence of functional objects when human interaction is removed.
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by Rachel Miller, Baylor, November 01, 2013
The Allbritton Art Institute at Baylor University welcomes internationally renowned sculptor Roxy Paine and acclaimed art critic Jason Edward Kaufman as they speak at its annual lecture on Tuesday Nov. 5, which features distinguished art historians and scholars from the United States and abroad.
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by Nick Remsen, Style.com, October 30, 2013
It was Sicily in Soho last night, with Dolce & Gabbana underwriting the 19th annual Artwalk NY soirée, benefiting the Coalition for the Homeless. A transformed Mercer Street space—cavernous, hot, chock-full of glittering donated art that could be had for a steal if you got lucky—saw a lot of the Italian label’s ornate frocks. “It’s a little heavy,” said Hilary Rhoda of her bejeweled sanguine shift, “but it’s just so fun to wear.” Pretty fashion things aside, the party raised a huge amount of money for the coalition, a particularly resonant cause given the anniversary of a certain superstorm. Mid-evening, Bettina Prentice giddily let on, “You guys, we’re almost at a million dollars!”
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by Karen Rosenberg, The New York Times, October 25, 2013
If you haven’t quite wrapped your head around the concept of 3-D printing, or haven’t yet had a digital scanner wrap itself around you, now you can do both in “Out of Hand: Materializing the Postdigital,” at the Museum of Arts and Design. The technologies in this survey of computer-assisted art, architecture and design may not be entirely new; the Museum of Modern Art’s 2008 exhibition “Design and the Elastic Mind” covered much the same territory and included some of the same artists and projects. But these tools are becoming more pervasive in both art and life, making this a good time for the uninitiated to get up to speed.
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by Betsy Morais, The New Yorker, October 23, 2013
The other day, the Museum of Arts and Design held a science fair of sorts to introduce a new exhibition called “Out of Hand: Materializing the Postdigital.” All of the art on display was created with the help of computers; artists stood beside their projects, happy to split the credit for their work with machines. The show’s curator, Ronald Labaco, addressed the crowd gathered around a tall nude sculpture by Richard Dupont, who collected data about his body using a 3-D scanner in order to render a pixelated-looking figure made of pigmented cast-polyurethane resin. “I’m here to tell you the digital revolution is over, and it has now become commonplace,” Labaco declared. Whispered gasps could be heard. The gallery walls were painted black, and most in the room wore the same color, giving the space a futuristic mood: H&M meets Starship Enterprise.
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by Alex Garkavenko, Architizer, October 23, 2013
“I just want to start off: how many of you feel that there is a digital revolution? Or think that digitalization is revolutionary?”
A multitude of hands creep into the air. “Okay, many of you,” Ronald T. Labaco says as he surveys the crowd at this early-morning preview for his latest exhibition, “Out of Hand: Materializing the Postdigital,” which runs through July 6. 2014, at the Museum of Arts and Design in NYC.
“Well, I’m curious whether the revolution is over and is now part of our everyday culture,” he continues. “That is has become so commonplace, that technology is no longer considered for it’s innovative nature in and of itself, but as a tool for furthering creativity.”
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by Robert Dluzen, Visual Art Source, October 19, 2013
Kavi Gupta christens its second Chicago location, a cavernous space on Elizabeth Street, with “Apparatus,” Roxy Paine’s first solo exhibition in Chicago featuring his latest artistic venture: large scale dioramas. Here, there are only two. “Carcass” is a bare replica of a fast food restaurant counter, and “Control Room” is a re-creation of what the title suggests, painted with a few shades of gray.
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by Andreas Mueller, Superfuture, October 18, 2013
roxy paine is an american artist based in new york city. educated at the santa fe university of art and design and the pratt institute, paine's work has challenged the perception of visual language and how it affects the understanding of our environments since the very beginning of his career. the artist focuses on objects and their fabrication, and aims to trigger a different kind of perception - or understanding if you will - of the visual, and ulteriorly, of our reality.
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Broadway World, October 15, 2013
Exploring the latest trends in digital fabrication, Out of Hand: Materializing the Postdigital at the Museum of Arts and Design is the first in-depth survey dedicated to exploring the impact of computer-asisted methods of production on contemporary art, architecture, and design. On view today, October 15, 2013, through July 6, 2014, this landmark exhibition brings together more than 120 works of sculpture, jewelry, fashion, and furniture by 85 artists, architects, and designers from 20 countries to examine how new technologies are pushing the boundaries of artistic expression and creation. The cutting-edge works highlighted in the exhibition demonstrate the reciprocal relationship between art and technological innovation as well as materials and new techniques-an area of exploration that has long been at the core of MAD's mission and curatorial program.
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by L. Kent Wolgamott, The Journal Star, October 12, 2013
The striking juxtaposition of size and subject captures the essence of the Sheldon Museum of Art exhibition that looks at surrealism not as an art movement or individual pieces of work, but as a way of arranging and viewing objects.
“It isn’t about surrealism proper, but the spirit and tendencies that fed into surrealism and issue out of it,” said Sheldon director Jorge Daniel Veneciano, who put together the show from Sheldon’s collection and holdings of area collectors. “It’s really mixing objects together so the show itself becomes surreal.”
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by Roberta Smith, The New York Times, October 11, 2013
This week brings an ambitious show that should be required viewing for anyone who is curious — and that should be everyone — about the ways digitalization affects, facilitates, improves, inspires and sometimes ruins various forms of visual culture. “Out of Hand: Materializing the Postdigital” which opens on Tuesday at the Museum of Arts and Design, will present the efforts of some 80 architects, designers and artists from 20 countries, with the designers in the majority. Presenting digital-dependent work from the last decade, displays will run the gamut from life-changing (if not saving) to frivolous, among them dinnerware, sports shoes, furnishings, clothing, buildings and various forms of three-dimensional art. Those represented include Bathsheba Grossman, Greg Lynn, Marc Newson, Magnus Larsson, Roxy Paine, Frank Stella, Zaha Hadid and J. Mayer H. Architects (whose seemingly astounding Metropol Parasol, completed in 2011, spans a plaza in the old quarter of Seville, Spain).
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by Jason Foumberg, ChicagoMag, October 08, 2013
KAVI GUPTA GALLERY Critic’s Pick
Through 10/20 Roxy Paine: Apparatus. The sculptor Roxy Paine fills the 8,000-square-foot gallery with realistic dioramas of a nuclear plant’s control center and a fast-food restaurant, circa 1990. 219 N Elizabeth. kavigupta.com.
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by Leslie Millar, Blog@KMAC, September 25, 2013
The recent Donors’ Circle trip to EXPO Chicago was inspiring and stimulating. It was quite extraordinary to get personal home tours from esteemed art collectors, private viewings of new gallery exhibitions, invitation-only after parties and all the contemporary art Chicago’s Navy Pier could handle.
KMAC Donors’ Circle member Leslie Millar wrote a brief synopsis of the week-end in case you couldn’t join us.
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by Brian Boucher, Art in America, September 23, 2013
"I'll tell you what distinguishes this year from last year," Expo Chicago director Tony Karman told A.i.A. at the fair's sophomore outing on Saturday, "and I'll tell you in one word—sales. It was very important that big dealers like David Zwirner and Marianne Boesky do well, and they have."
Featuring over 120 international galleries at the capacious Navy Piers (up from 100 last year), with views of Lake Michigan, Expo Chicago (Sept. 19-22) represented dealers from 17 countries and 36 cities. Some were returning, like Zwirner (New York and London), Matthew Marks (New York and Los Angeles), and Kavi Gupta (Chicago and Berlin). There were also many first-timers, including Marianne Boesky (New York), Cabinet (London), Massimo de Carlo (Milan and London) and Susanne Vielmetter Los Angeles Projects.
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by Kimberly Chou, The Wall Street Journal, April 26, 2013
Brooklynites of all stripes were in the house Wednesday night at Brooklyn Museum’s annual Brooklyn Artists Ball. This year’s benefit was emphatically homegrown, celebrating artists who live and work in the borough. Vik Muniz, Wangechi Mutu and Roxy Paine were the evening’s artist honorees. They were recipients of the Asher B. Durand Award, named for the artist who in 1855 painted the first piece to join the museum’s collection.
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by April Siese, 110 Ft. Sculpture Approved For Yerba Buena Central Subway Station, April 03, 2013
The Central Subway Yerba Buena/Moscone Station is about to get a little lovelier for its slated 2019 opening thanks to a proposed 110′ stainless steel sculpture.
The SF Arts Commission voted Monday to approve the $1.5 million “dendroid” simply entitled “Node” by sculptor Roxy Paine. The piece tapers from a 48″ diameter at its base to 1/4″ at its peak.
According to the sculpture proposal, “Node is a distillation of a notion of growth, striving, and aspiration, into an essential meandering, searching form, but on a massive scale.”
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by Brock Keeling, SFist, April 2, 2013
Paine is known in art circles for his large-scale stainless steel tree-like sculptures. (Check out his work here, here, here, and here.) This proposed sculpture will be located in a public plaza in front of the Central Subway Yerba Buena/Moscone Station at 4th and Clementina streets.
Specifics? "The 110-foot-tall curvilinear sculpture will taper from a diameter of 48 inches at the base to ¼ inch at the peak," notes the SF Arts Commission, adding, "Titled Node, the sculpture is described by the artist as a growth that emerges from a confluence of underground manmade systems that are the lifeline for the city."
Node's big reveal will coincide with the opening of the Central Subway way down in 2019. If you don't like it, you have more than enough time to move to Orinda where you belong.
Speaking of public art in San Francisco, we cannot recommend Arts for the City: Civic Art and Urban Change rabidly enough. The recent release chronicles public art in the city from 1932-2013, boasting a slew of photos and insight on some of your favorite (and not so favorite) art that you see on a daily basis. A must for any San Franciscan. Buy it here.
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by Christian Viveros-Fauné
I. The Studio Visit and the Cheat Sheet
Here’s a few super-concentrated ideas Roxy Paine tossed my way—in the form of a neatly folded sheet of paper—as I prepared to write this essay about his most recent eye-opening, mind-boggling sculptures.
His printed notations began thusly: “The translation between entities—between modes of thought/between languages of thought/between material languages/between processes and systems.” A gnomic set of pronouncements that matched up neatly with a few other favorite concepts I’d heard Paine talk about in his Long Island City, Queens, studio, these observations stuck to his Natural History Museum-scale dioramas like a stack of invisible Post-It Notes.