Tony Marsh: Like Water Uphill @ The Pit In Glendale, California

Tony Marsh’s Like Water Uphill consists of eleven of Marsh’ ceramic works from his ongoing Crucible and Cauldron series. Marsh’s practice fixates on the long history of the creation of vessels. His method of production is predicated on the acceptance of failure, and an interest in the unpredictable. As a medium, ceramics are known for their fragile nature, not just their delicate nature after having been fired, but also their tendency to collapse, explode, crack, or fall apart while the clay is still wet or during the firing process. The ability to overcome these obstacles, and adhere to chemical and compositional constraints is often times what warrants the success of the finished piece. However, Marsh’s approach in his Crucible and Cauldron works embraces discovery and ultimately searches for unpredictable outcomes. The works are built up from multiple applications of mineral mixtures, different glazes, pigments, and even found scraps of other ceramic material. Like Water Uphill is on view through December 14th at The Pit 918 Ruberta Ave, Glendale. photographs courtesy of the artist and The Pit

Simone Fattal: Works and Days @ the New York MOMA

Simone Fattal: Works and Days, on view at MoMA PS1 through September 2, 2019. Artwork courtesy the artist and Balice Hertling, Paris; Karma International, Zurich / Los Angeles; kaufmann repetto, Milan / New York; and Galerie Tanit, Munich / Beirut. Image courtesy MoMA PS1. Photo: Matthew Septimus

Simone Fattal: Works and Days, on view at MoMA PS1 through September 2, 2019. Artwork courtesy the artist and Balice Hertling, Paris; Karma International, Zurich / Los Angeles; kaufmann repetto, Milan / New York; and Galerie Tanit, Munich / Beirut. Image courtesy MoMA PS1. Photo: Matthew Septimus

Simone Fattal. “The Wounded Warrior.” 1999. Bronze. 23.6 x 7.9 x 7.9 in. (60 x 20 x 20 cm). Courtesy of the artist and kaufmann repetto, Milan / New York; Balice Hertling, Paris; Karma International, Zurich / Los Angeles

Simone Fattal. “Horse.” 2009. Glazed stoneware. 8 x 10 x 5 in. (20.32 x 25.4 x 12.7 cm). Courtesy of the artist and kaufmann repetto, Milan / New York; Balice Hertling, Paris; Karma International, Zurich / Los Angeles

Simone Fattal. “Man and his shadow.” 2009. Glazed stoneware. 9.8 x 4.3 x 1.6 in. (25 x 11 x 4 cm). Courtesy of the artist and kaufmann repetto, Milan / New York; Balice Hertling, Paris; Karma International, Zurich / Los Angeles

Simone Fattal. “Man in the Desert.” 2000. Glazed stoneware. 58 x 29 x 10 cm ( 22 7/8 x 11 3/8 x 3 7/8 inch). Courtesy of the artist and kaufmann repetto, Milan / New York; Balice Hertling, Paris; Karma International, Zurich / Los Angeles

Simone Fattal: Works and Days, on view at MoMA PS1 through September 2, 2019. Artwork courtesy the artist and Balice Hertling, Paris; Karma International, Zurich / Los Angeles; kaufmann repetto, Milan / New York; and Galerie Tanit, Munich / Beirut. Image courtesy MoMA PS1. Photo: Matthew Septimus

Simone Fattal: Works and Days, on view at MoMA PS1 through September 2, 2019. Artwork courtesy the artist and Balice Hertling, Paris; Karma International, Zurich / Los Angeles; kaufmann repetto, Milan / New York; and Galerie Tanit, Munich / Beirut. Image courtesy MoMA PS1. Photo: Matthew Septimus

Simone Fattal: Works and Days, on view at MoMA PS1 through September 2, 2019. Artwork courtesy the artist and Balice Hertling, Paris; Karma International, Zurich / Los Angeles; kaufmann repetto, Milan / New York; and Galerie Tanit, Munich / Beirut. Image courtesy MoMA PS1. Photo: Matthew Septimus

Simone Fattal: Works and Days brings together over 200 works created over the last 50 years, featuring abstract and figurative ceramic sculptures, paintings, watercolors, and collages that draw from a range of sources including ancient history, mythology, Sufi poetry, geopolitical conflicts, and landscape painting. Fattal’s work explores the impact of displacement, as well as the politics of archaeology and excavation, constructing a world that has emerged from history and memory. Both timeless and specific, Fattal’s work straddles the contemporary, the archaic, and the mythic.

Simone Fattal: Works and Days is on view through September 2 at MOMA 11 West 53 Street. photographs courtesy of MOMA

A Studio Visit With Grant Levy-Lucero

photographs by Lani Trock.

Closing Of Nicole Nadeau's 'A Flower By Another Name' @ That That X WNDO In Los Angeles

A sculptural interpretation of a drawing Nicole Nadeau made as a child, A Flower By Another Name is a conversation between present and past. Curated by Kyle DeWoody, the ceramic sculptures are the artist’s 3D interpretations of the drawing. In order to better understand the subconscious messages embedded in the flowers, Nadeau had her twin sister, Coryn Nadeau, a clinical art therapist, psychoanalyze the original drawing using Lowenfeld theory, The Silver Drawing Test of Cognition & Emotion, Kellogg & assessment symbology. Her finding help to inform the dimensional translation.

She suggested that the four flowers were an abstract representation of the four members of Nadeau’s family. Noting we have a capacity for symbolization in art, whereby we unconsciously project transitional objects or the family dyad onto the work. When objects are repeated in the same number sequence as the artist’s family dyad, it is said to reflect that individual’s family. This may be why the flowers are disproportionately large to their surroundings, given the strong feeling attached to them. The flowers are also the only objects in the drawing that exhibit variation, most noticeably in colored – even the rainbow is monochromatic. A Flower By Another Name was presented by That That Gallery from September 20-27 at WNDO 361 Vernon Avenue, Venice 90291. photographs by Oliver Kupper