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Articles by Vanessa Holyoak
Vanessa Holyoak on Patty Chang & David Kelley at ArtCenter Review
Patty Chang and David Kelley, Stray Dog Hydrophobia, 2024, four-channel video projection, color, sound, 53 minutes. Installation view. The deep ocean was the main protagonist of Patty Chang and David Kelley’s exhibition “Our Abyssal Kin” at ArtCenter, emerging as a site in which human and ecological narratives—and struggles for justice—become inseparable.
Shilpa Gupta Meditates on Silence’s Weight
In his treatise on literature’s relationship to loss and the limits of representation, The Writing of the Disaster (1980), Maurice Blanchot suggests that ‘[w]hoever writes is exiled from writing, which is the country – his own – where he is not a prophet’. For the French theorist, writing is inextricably linked to absence, erasure and exile, shaped by the spectre of what cannot be said.
Vanessa Holyoak on Lauren Bon
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‘Scratching at the Moon‘ Espouses Relation over Identity in Isolation
In Poetics of Relation (1990),Édouard Glissant writes that ‘relation struggles and states itself in opacity’. To lay the groundwork for an ethical way of relating across difference, we must first accept the opacity – the fundamental right to remain unknowable – of the other.
Michelle Lopez
In “LASSO REPRIEVE,” Michelle Lopez’s solo exhibition here, arrangements of hand-twisted steel rope in various colors loom larger-than-life, hovering in gravity-defying formations that resist the limpness evoked by their velvety, braid-like texture. Liberated from the constricting function implied by the lasso of the show’s title, the ropes converge to form contingent structures of support whose apparent vulnerability belies their stability.
68/99
Arriving at CalArts with politics, as I did in the late 1990s, felt weird. Maybe it’s always like this? At the time the real practice didn’t fit the theory, or was it the other way around? I was accepted to the Art MFA Program just as I was starting a job as a tenant organizer in the Northwest Bronx. An if-then clause I composed for myself was, “If art school is a privilege, then art school should be a privilege for anyone in a just society.” I didn’t give much pause to the cost.
Artists at Work: Shirley Tse
Date Published: April 21, 2023 Artists at Work: Shirley Tse by Vanessa Holyoak Over the past thirty years, Hong Kong-born, California-based artist Shirley Tse has developed a multivalent installation practice exploring sculptural processes as “models of multi-dimensional thinking and negotiation.” After studying fine art at Chinese University in Hong Kong, she arrived in California in 1990 to attend University of California at Berkeley and subsequently ArtCenter, where she earned her MFA.
Shirley Tse's Ecology of the Everyday
LOS ANGELES — The Hong Kong-born, California-based artist Shirley Tse left her Los Angeles home behind for the coastal town of Lompoc, California, during the course of the pandemic. The artist’s personal experiences are inextricable from her artwork: Each piece in Lompoc Stories, her solo exhibition at Shoshana Wayne Gallery, is priced at $3,360, a number that reflects the fixed monthly cost of renting her Los Angeles studio in order to sustain her visual practice.
Queering the Archive, Tracing One’s History
LOS ANGELES — Tucked into a small gallery in USC Library’s ONE Archives — self-described as the largest repository of LGBTQ materials in the world — is the second half of a multipart exhibition: Archival Intimacies: Queering South/East Asian Diasporas, a two-venue project curated by Aziz Sohail and Alexis Bard Johnson. While Stranger Intimacies I recently closed at the USC Pacific Asian Museum, Stranger Intimacies II remains on view at ONE Archives.
Michael Asher: There is Never Enough Time to Get Everything Said
“But for me, this has always been thought of as a shared experience. I do not have an ultimate notion of what art is; therefore, if I use the written word or something of that sort, it has a particular interest for me.
The Experimental Laboratory of Artist-Inventor Carl Cheng
Installation view of Carl Cheng, "Nature Laboratory Collection 3.0" (1970–2022), avocado skin sculptures, adhesive, 12 cafeteria trays, dimensions variable (photo by Jeff McLane, image courtesy the artist and Philip Martin Gallery, Los Angeles) LOS ANGELES — There is an uncanny feeling entering Philip Martin gallery, where Human Nature, a solo exhibition featuring sculptural and wall-based work by prolific post-minimalist artist Carl Cheng — often known through his corporate-mocking moniker...
Artists at Work: Alison Saar
Alison Saar, Bitter Crop, 2018. Wood, steel, bronze, acrylic, tar. 18 x 28 x 8 in. (45.7 x 71.1 x 20.3 cm). Collection of Gary and Kathi Cypres. Courtesy of the Benton Museum of Art at Pomona College. Raised by a family of artists, Alison Saar has been crafting unique sculptures, installations, prints, and assemblages since her early years, studying at Scripps College (BA 1978) and Otis College of Art and Design (MFA 1981).
Samara Golden’s “Guts”
Samara Golden’s “Guts,” the inaugural exhibition at Night Gallery’s new venue in downtown Los Angeles, offers a direct, physical encounter with fantastical perceptual experience. In this warehouse space, Golden has installed a huge mirrored box titled Guts (2022).
An Exhibition Makes a Bold, Yet Confusing Case for a New Category of Chinese Art
Installation photograph, featuring gu wenda’s “united nations: american code” (1995-2019), in the exhibition The Allure of Matter: Material Art from China at the Los Angeles County Museum of Art (© gu wenda, photo © Museum Associates/ LACMA) LOS ANGELES — The Allure of Matter: Material Art from China at the Los Angeles County Museum of Art (LACMA) is ambitious in its scope, exhibiting 26 artists and work that spans four decades and myriad methodologies.
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