Tyler Green
Art-focused Journalism by Tyler Green

Tyler Green Modern Art Notes

Five things I think I think: Albright-Knox edition

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I’m traveling this week, so hear are some notes on what I’m seeing while I’m on the road…

1.) The Kelly Richardson survey at the Albright-Knox Art Gallery has many good moments, but none are better than walking into Mariner 9 (2012), the UK-based Richardson’s biggest, newest work. For about 15 minutes I watched people walk in and then suddenly stop, as if they’d collided with a pane of glass. Mariner 9 is a significant work: Its mix of fantasy, history, faux-history, and data-driven construction give artists who are interested in landscape and man’s impact on the planet(s) a lot to think about. And it’s effin’ rad.

2.) Richardson’s A Car Stopped at a Stopsign In the Middle of Nowhere, In Front of a Landscape (2001) ┬árecalls the way Eadweard Muybridge, Alexander Gardner and other 19th-century photographers added clouds to their landscapes. With a different technology, Richardson does too.

3.) The Albright is also featuring a small, Harwood-sourced show of work Agnes Martin made in Taos between 1947 and 1957, the years in which she worked through a biomorphism-inflected abstraction. The show’s works on paper are more interesting than the early paintings, with the exception of the untitled ca. 1957 work above. It looks like a key transitional work, like Martin’s version of Mark Rothko‘s 1949 canvases.

3a.) Neat: Going downstairs from the early Martins to find best-of examples of Gorky and Miro, the kind of art that must have influence Martin in the late ’40s and early ’50s.

4.) Rachel Whiteread’s Untitled (Domestic) (2002), which the A-K co-owns with the Carnegie Museum of Art, in a big, airy, Edward B. Green-designed entry gallery? Oh yes. A special, special installation.

5.) Really loved seeing Robert Irwin’s new Niagara (2012) sharing a hallway with Arthur Dove’s Fields of Grain as Seen From Train (1931). Both are about movement.

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