The British artist Andy Goldsworthy moved to Penpont, a village in southwest Scotland, in 1986, when he was thirty. The area's initial appeal was twofold. Property was cheap, which meant that Goldsworthy and his wife at the time, Judith Gregson, could acquire an unrenovated stone building that had likely once stored grain. This structure could serve as a workspace and, for a while, as a rough-and-ready home.
The red sphere, originally associated with the ritual of celebration and the expectation of magic, is stripped of its function and returned to the landscape as a heavy, vulnerable form without foundation. Suspended by a hemp rope from a bare century-old tree, the object exists between ground and space; neither in fall nor at rest, but in a prolonged state of uncertainty.
Catherine Wagner is never not doing something interesting, it seems, whether it's photographing hidden corners of Oakland's Mills College Art Museum for 2018's Archeology in Reverse series or using film canisters from the Berkeley Art Museum and Pacific Film Archive's to recontextualize the history of movies in 2024's Moving Pictures. Mostly she works behind the camera, which I guess you'd expect from a photographer.
Casting has been revealed for the upcoming site-specific staging of Morgan Lloyd Malcolm's The Wasp. The Olivier Award-winning playwright's psychological thriller will be performed in a private loft in NYC's Financial District, with performances running October 23-November 15. Rory McGregor is at the helm.
