Art@Site Aaron Curry Love Buzz Montreal

Aaron Curry


Love Buzz

Musée des Beaux-Art
spinning spider
Fear of a spider comes from our crocodile brain. Once homo sapiens had a benefit because of the knowledge of poisonous spiders; they had more chance to survive. Fear caused them to flee and that’s why they were able to survive.
Love Buzz has spiders legs which make us afraid. Instead of fear we can consciously choose for another emotion. Let’s pretend it’s a pink lovely spider with sensitive legs. Shall we choose for anticipation in stead of fear?
Love Buzz by Aaron Curry has interest in the other, is stretching his neck and is looking at you with his big eye. Can hear the hum of Love Buzz?
By Theo,

spinnende spin
Angst voor een spin komt uit ons krokodillenbrein. Ooit hadden homo sapiens een voordeel door de kennis over giftige spinnen; zij hadden méér kans om te overleven. Angst leidde bij hen tot vluchten en dat vergrote weer de kans op overleven.
Love Buzz heeft spinnen poten die ons bang kan maken. In plaats van angst kunnen wij ook bewust kiezen voor een andere emotie. Laten wij nét doen alsof het een roze liefdevolle spin is met sensitieve benen. Zullen we in plaats van angst kiezen voor voorpret?
Love Buzz van Aaron Curry heeft interesse in de ander, rekt zijn hals en kijkt je aan met zijn ene grote oog. Hoor je het zoemen van Love Buzz?
Door Theo,
Aaron Curry has successfully created an environment whose mixed influences demonstrate just how well the artist has done with internalizing other artists’ visions and making them his own ...
Curry’s art mimics to some degree the artwork of modernism; clearly, ... owes its inspiration to the art of Alexander Calder, although the former’s use is arguably more complex, owing to the intricacies of the environment. And the smaller sculptures, inhabiting each of the quadrants formed by the big aluminum structure, resemble the organic gestalt of a Noguchi work of art, with influences of Matta, the Chilean-born painter, thrown in.
... easily spans the gap between figurative and abstract modernism; the references to Noguchi are, again, unmistakable, as is the sense that we are seeing a standing figure ...
... Curry has reworked the principles of modernism into a contemporary format, whose staying power is extended by its newness of form. Curry does this so well that the stathe environment moves beyond scholarly quotation into a place of genuine creativity.
Even so, at least some of the impulse behind the imagery also maintains visible ties to the past... Curry’s adept revisions ask the question so many sculptors have spoken out on: At what point do we leave the venerable halls of modernity and branch out on our own? Contemporary culture remains in dialogue with 20th - century achievements in a number of ways — not the least of which is a penchant for formal abstraction—and Curry’s images mimic the past without appropriating it... Curry’s work cannot be considered appropriation so much as it can be called a revision of the modernist canon, one whose formalism results in highly compelling art. ... makes it clear that the past is open to question, even when it serves as the basic materials for Curry’s eventful "
[Art@Site: This article is about "Buzz Kill" and "Zuzz Tuk". It seems to me that many characteristics of these artworks are also relevant to "Love Buzz".]
American sculptor and draughtsman Aaron Curry was born in San Antonio, Texas in 1972. He is a graduate of the School of the Art Institute of Chicago and Pasadena, California’s Art Center College of Design.
Although his career is still young, he has already had solo exhibitions at Galerie Daniel Buchholz (in Berlin and Cologne), the Michael Werner Gallery (in London and New York), and at the David Kordansky Gallery (in Los Angeles). Los Angeles’ Hammer Museum, Hanover’s Kestnergesellschaft, and Bergamo’s Galleria d’Arte Moderna e Contemporanea have also given him solo shows. His work has been included in numerous group exhibitions—notably at the New Museum in New York, the Museum of Contemporary Art Detroit, and The Contemporary Museum, Honolulu—and received extensive coverage in the specialized press.
One of his works (Deft Composition, 2009) illustrated the cover of the October 2010 issue of the magazine Art in America, which featured an articlel of monumental sculpture.
Aaron Curry lives and works in Los Angeles.