Fred Tomaselli's "Guilty"
Fred Tomaselli: Guilty, 2005, digital inkjet print on perforated archival paper, James Cohan Gallery, New York; courtesy Center for Contemporary Arts
Adam Simon's "Four Days Color Coded"
Adam Simon: Four Days Color Coded (Death, Power, Human Interest) #1, 1993/2013, oil, newspaper, polymer resin on canvas; courtesy Center for Contemporary Arts
Donna Ruff's "7.4.13"
Donna Ruff: 7.4.13, 2013, hand-cut newspaper; courtesy Center for Contemporary Arts
- The big chill: ICEPOP
Crockett Bodelson and Sandra Wang figure they’ll have more than 700 artworks ready for the Friday, Jan. 24, opening of ICEPOP. In this many-pronged show at the Center for Contemporary Arts, they examine ice, polar exploration, and mobility. The show runs through March 30.
“We’re working on the pieces now. They’re still coming out of the kiln,” Bodelson said. “We’re using an English product called frost porcelain. What drew us to think about ice was working with this clay. The title of the show fits in most with this installation that depicts Antarctica 100 years ago and Endurance, the 1914 Sir Ernest Shackleton expedition, and contemporary Antarctica. There are over 250 people living there year-round now, and it’s opening up to tourism, but there is a treaty to keeps it neutral and pristine. For an artist it’s inspiring because it’s an untouched place, and it isn’t supercharged like the Arctic with all the politics about oil drilling.”
Bodelson and Wang, who met in 2007 in San Francisco, make up the collective SCUBA. They curated nine exhibitions at their (now-defunct) Caldera Gallery on Baca Street in 2011 and 2012. In December 2013, they sold their art objects in a “Storesalon” space at SITE Santa Fe.
A center of the ICEPOP installation, in CCA’s Muñoz Waxman Gallery, is their modified 1989 Ford Econoline van, which appears as if it’s floating on water. The vehicle has a name: Ice Shelf. “Sandra and I used to live in it, and we had a painting studio inside. We’d drive it up and down California, painting in Joshua Tree and Big Sur and other places.”
The hundreds of small artworks are like drawings. The artists flatten pieces of frost porcelain in a clay press, draw and cut shapes with a needle tool, and then apply acrylic paint. “They’ll hang on two walls of the gallery,” Bodelson said. “We’ll also have 375 porcelain tiles that we had in the Currents show [Santa Fe International New Media Festival] last summer. They have animations of water molecules breaking apart that come alive with a light projector.”
Posted: Friday, January 24, 2014 5:00 am
“Saudi King Says Jets Are Needed to Curb Reds’ Mideast Gains.” “Quayle Meets With Saudi Royalty and Seeks More Aid for Military.” These are two of the hundreds of headlines that A.J. Bocchino harvested from nearly seven decades of New York Times stories relating to what he calls a long-standing oil-for-protection bargain between Saudi Arabia and the United States. A very large dye-sublimation print of the headlines is included in All the News That’s Fit to Print, opening Friday, Jan. 24, in the Spector Ripps Project Space at the Center for Contemporary Arts.
The exhibition also features All the Heads on the Front Pages of the New York Times. The 12 drawings in this series — each one a crowded cluster of sketchy head shapes — were made by artist Pat Boas in the first year of the new millennium. Another work relating to the nation’s “newspaper of record” is Quotidian by Donna Ruff. The Santa Fe-based artist is co-curator of All the News with CCA visual arts director Erin Elder. The other artists represented in the exhibit — all incorporating The New York Times into their work — are Lauren DiCioccio, Shanti Grumbine, Elissa Levy, Francesca Pastine, Guy Richards Smit, Adam Simon, and Fred Tomaselli.
Friday, January 24, 2014 5:00 am.