I thought I’d see more organically, but now I’ll go look, but at least/at last Nereya Otieno has an insightful review at Hyperallergic of the restaging of David Hammons’ Concerto in Black and Blue at Hauser & Wirth LA.
AND it explains the phone situation: you have to lock your phone in a bag. Are there swaths or pockets of LA life where this happens now? People moving in and out of NDA/privacy/IP leakage control/be-in-the-moment woo woo zones? Or is it just for once-in-a-generation art installations?
HEADS UP, though, I thought it was on until June 1, but the H&W site now says May 25. Don’t sleep on it.
February was a distracting month, so I did miss Eileen Kinsella’s account of visiting Concerto in Black and Blue during Frieze LA.
Mark Pieterson’s review for Sculpture Magazine is good, if bleak. But then [looks around] how could it not be?
In her account of visiting Concerto for Artillery, Brittany Menjivar sounds a little surprised by the experience of the work.
OK, this review [sic] at Flaunt was either written by AI, or it is a review of the YouTube video Hauser & Wirth posted in April, which has a soundtrack. Because there is no concerto playing in Concerto. [Unless? Was there a Japanese performer playing koto at this opening, too?]
Tomorrow, 17 May at 11AM, Darby English will be moderating an IRL conversation at H&W LA with Jasper Marsalis, Harryette R. Mullen and Joe Ray on the question, “How do we see the work’s darkness now?” Eventbrite says few tickets left.
[23 May update:] Wayne Bremser has a great account of his visit today. Just in time!
David Hammons Gets At The Why? Of It [hyperallergic]
Previously, related: David Hammons Lights