Through the side project Diagonal Press, Auerbach publishes open-edition artist books and specimen posters of the typefaces they design in their spare time.Īuerbach’s new work emerged from no less heady a quandary than the existence of free will. “I don’t really stay on one thing for that long.”) In parallel with making paintings, drawings and sculpture, they have designed a multiplayer pump organ with the musician Cameron Mesirow modeled sculpturelike pop-up books of complex geometric shapes marbleized the exterior of a fireboat in New York Harbor hooked a microphone to a pen in a musical collaboration with the band Zs and produced a mesmerizing video capturing footage of silicone droplets dancing on the vibrations of a speaker cone. (“I was always going to move on,” they recalled of that era. Initially lumped in with a market-driven frenzy for young abstract painters, Auerbach resisted pigeonholing. In 2008 they moved to New York, where they made waves at the 2010 Whitney Biennial with their “Fold” paintings, spray-painted canvases that were flat but seemed crumpled, a trompe l’oeil trick that reflected the artist’s enduring preoccupation with interdimensionality. Where their peers sought out M.F.A.s, Auerbach, who was interested in typography, spent part of college and a couple of years just after graduation working as a sign painter at San Francisco’s New Bohemia Signs. “This might sound silly, but I just understand how profound it is, the oven as a technology to change the state of this material.”Īuerbach, 41, has been making what they call frit lace for only about six months, but experimenting across mediums is the artist’s hallmark they’re at home in what they call “that unique, scary place of unknowns.” Raised in San Francisco by a mother and father who worked as consultants designing performing arts spaces, Auerbach credits their own punky, science fair approach to being an only child and “having to amuse myself at my parents’ office for long periods of time with their office supplies.” Later, as an undergraduate at Stanford University studying art, Auerbach spent a year designing rudimentary machines in the mechanical engineering department - “probably my best experience at that school,” they said. “I’m newly in love,” Auerbach declared of the kiln, inspecting its recent issue: wafer-thin lattices made from granulated colored glass called frit sprinkled and baked, the grains fuse together, leaving gaps as they contract to form distinctive, delicate architectures. On a recent afternoon, Auerbach, wearing a mismatched paint-spattered sweatsuit and clogs and a black apron, guided me down the steep stairs to show me some of the work they will unveil on March 18 at their first show in five years at Paula Cooper Gallery in Chelsea. Every morning when the artist Tauba Auerbach arrives at their ground-floor studio, housed in an old metal-stamping factory on New York’s Lower East Side, they race down to the basement to check on the contents of their glass kiln.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |