REVIEWS

/ Blum & Poe
Robert Morris & Kishio Suga

BLUM & POE, Tokyo

View of "Robert Morris & Kishio Suga," Blum & Poe, Tokyo, 2016.
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Stuart Munro

Words, like the gray matting in Robert Morris’s Lead and Felt (1969/2016), are woven. Yet, like these felt strips, descriptions shift. In a shared context with Kishio Suga’s Parameters of Space (1978/2016), material and form take on meanings that bend, twist, and track the local climate. The immediate world provides... continue reading
View of “The Avant-Garde Won’t Give Up: Cobra and Its Legacy,” Blum & Poe, New York, 2015.
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Rachel Wetzler

Cobra, a short-lived association of artists based in Copenhagen, Brussels, and Amsterdam who published an eponymous journal from 1948 to 1951, has the dubious honor of being frequently invoked as a locus of postwar avant-garde activity in Europe, while its works remain all but invisible outside of the group’s native... continue reading
David Horvitz

BLUM & POE, Los Angeles

David Horvitz, somewhere in between the jurisdiction of time (detail), 2014.
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Andrew Berardini

Irregularly and perhaps just a bit irrationally, lawmakers and treaties carve hard demarcations of time from a spinning globe. Workers clock in there, the lunch hour is now here—Daylight Savings Time always confused the hell out of me. Whatever you think noon is, it’s now mostly an abstraction. Time zones... continue reading
“Standard Operating Procedures”

BLUM & POE, Los Angeles

Nicolás Guagnini, State of the Arts, 2008.
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Jonathan Griffin

With Tina Braegger, Antoine Catala, Ida Ekblad, Nikolas Gambaroff, Nicolas Guagnini, Yngve Holen, Alex Israel, Helen Marten, John Miller, Olivier Mosset, Amy O’Neill, Sean Paul, Carissa Rodriguez, Greg Parma Smith, Alan Uglow, and Hannah Weinberger.   What is the difference between a “standard operating procedure” and a formula, an algorithm, a set... continue reading

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Art Monthly
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