Del Kathryn Barton: The Highway Is a Disco at ARNDT Singapore

Del Kathryn Barton. The highway is a disco, 2015; Acrylic on French linen; 240 × 180 cm. Courtesy of the Artist and Arndt Singapore.

Framed against a starlit sky, two female figures with feathered hair and large, limpid eyes sit astride blue and purple kangaroos. Their lush, naked bodies are stark white against a vibrant canvas of marks, lines, and dots. They stare out of pictorial space into an unknown distance, with their detached gazes separated from the viewer’s own perusal of them. Disengaged from us, their distance forms[…..]

Printed Matters: An Old American Problem

Doug Rickard. #96.749058, Dallas, TX (2008), 2010; from A New American Picture (Aperture 2012). © Doug Rickard. Courtesy of Yossi Milo Gallery, New York, and Stephen Wirtz Gallery, San Francisco

Today from our partners at Art Practical, we bring you Amelia Rina’s review of the photography books A New American Picture by Doug Rickard (Aperture, 2012) and A New American Dream by Coll.eo (Concrete Press, 2014). This article was originally published on September 15, 2015. Today, with the ever-expanding visibility of public space facilitated by online image databases such as Google Street View and Google Images, it is now[…..]

Vic at Insitu Berlin

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Carla Fernández reviews the group show Vic at Insitu Berlin. The group show Vic at Insitu Berlin presents a fictional persona whose effect on viewers oscillates between[…..]

Van Gogh on Demand: China and the Readymade

How to Paint van Gogh’s “Sunflowers.” Photos of Zhao Xiaoyong and apprentice, eight states of two van Gogh Sunflowers, oil on canvas, 20 × 24 in., 28 Oct.–6 Nov. 2008. Photos: Winnie Wong.

Today from our partners at Art Practical, we bring you an excerpt from their Printed Matters column, a review of Winnie Won Yin Wong’s book Van Gogh on Demand: China and the Readymade. The review’s author, Jing Cao, makes note of the ramifications of Wong’s analysis: “In order to welcome ‘Chinese art’ into the global contemporary, the struggles within Chinese society for artistic legitimacy and the on-the-ground complexities of[…..]

Derek Jarman: Super 8

Derek Jarman. My Very Beautiful Movie, 1972 (contact sheet of film stills); Super 8mm; 17:13. Courtesy of Thames & Hudson and LUMA Foundation.

Today from our partners at Art Practical, we bring you Anton Stuebner’s consideration of Derek Jarman: Super 8, a recent monograph from Thames & Hudson. Steubner notes, “[The book] shows an artist fully coming into his own at a social and historical moment when his distinct creative voice would become more needed than ever.” This article was originally published on April 9, 2015. In his lifetime, Derek Jarman (1942–1994) was[…..]

Michael Pajon: Palimpsest at Jonathan Ferrara Gallery

Michael Pajon. The Night was Clear as Her Puddled Tears. 2014. Mixed media collage on book covers. 11 x 19 inches. Image: Courtesy of the Jonathan Ferrara Gallery, 2015.

To invoke a palimpsest is to find oneself wading into an extremely fertile territory of meaning. With equal relevance to the development of mathematics, geology, architecture, and memory studies, the term has transcended its origins as a reusable writing parchment in ancient Greece to become a material metaphor for the multilayered history of a particular place, epoch, or individual subject. Despite the term’s dynamic etymological[…..]

From the Archives – Paul Thek: If you don’t like this book you don’t like me

Spread from Paul Thek notebook #63, 1974; Courtesy Watermill Center Collection and Alexander and Bonin, New York; Photograph © Estate of George Paul Thek; Photograph Jörg Lohse

In consideration of the second day of the Los Angeles Art Book Fair, today we bring you a look back at a 2012 exhibition of Paul Thek’s books. Author Magdalen Chua describes the artist’s notebooks as filled with, “illustrations, drawings, and watercolor works [that] suggest a mind filled with both doubt and idealism.” This article was originally published on May 16, 2012. As part of the Glasgow International Festival of[…..]