Artist Doug Aitken aims to call attention to the marine environment partly as a call for better conservation.
For all the years that I have lived in America, which has become my home since immigrating from Russia a few decades ago, I've had a dream: to get behind the wheel of a car and drive thousands upon thousands of adventurous miles across this beautiful country of ours.
Creating what his gallery term "fine art installations," and roaming across a wide range of media, techniques and subjects, Aitken's work has been difficult to categorize. But taken together, these three shows should give the unacquainted viewer a full overview of who he is.
The problem is not the things we like, it's the way we do business. It's the way huge corporations handle distributing goods, maximizing profits. We absolutely have the power to turn this around, to whatever extent that we really want to turn it around.
This is an "anything can happen" environment -- you make plans to do something in ten minutes and then another person will inject their ideas. Everything is constantly shifting. But I always think, collaboration and improvisation are so important.
What I discovered was that I was taking a different kind of picture than I'd taken before. I was emphasizing the foreground and leaving the background a little out of focus. It's an approach I'd never used before and found that I returned to a half dozen times that day.
Iconic American photographer Stephen Shore is showing us the images he shot the day before in tiny Winslow, Arizona. Empty intersections. A white station wagon buried in low shrubs.
I ducked into a black felt yurt set up in the Railyard in Santa Fe, New Mexico, one of the installations traveling with Doug Aitken's latest large-scale artwork, "Station To Station," and was instantly involved in a mind-bending discussion about the expansion of the universe.
The multi-disciplinary aesthetic experience kicked off last night with an epic New York happening, featuring performances