Book

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[…..]

Reading Basquiat: Exploring Ambivalence in American Art

Jean-Michel Basquiat. Charles the First, 1982; acrylic and oil paintstick on canvas; three panels, 78 x 65 in. Courtesy of the Estate of Jean-Michel Basquiat, New York © The Estate of Jean-Michel Basquiat.

Today from our partners at Art Practical, we bring you an assessment of Jordana Moore Saggese’s new monograph, Reading Basquiat: Exploring Ambivalence in American Art. Of Basquiat’s work, reviewer Anton Stuebner notes: “[the] canvases require viewers to […] recognize that the boundaries of pictorial representation, like language, can be redefined and reformed.” This article was originally published on October 7, 2014. The mythology around Jean-Michel Basquiat continues to proliferate in[…..]

COMMUNE at White Rabbit Gallery of Contemporary Chinese Art

Xia XIng, '2010', 2010 - 2011, oil on canvas, 35 x 50cm (x60) image courtesy White Rabbit Gallery

The word commune, whether used as a noun or a verb, has complex connotations. From earnest Utopianism to grim, state-enforced collectivism; from familial relationships and networks to our connection with the natural world—all of these possible associations are present in the new show at Sydney’s White Rabbit Gallery of Contemporary Chinese Art. From Judith Neilson’s impressive collection, curator Bonnie Hudson has selected works by twenty-three artists.[…..]

Summer Reading – Mapping New Orleans: The Broadsides of Unfathomable City

"Bass Lines: Deep Sounds and Soils" from the book Unfathomable City: A New Orleans Atlas. Map concept by Joshua Jelly-Schapiro and Rebecca Snedeker, cartography by Jakob Rosenzweig, artwork by Katie Holten, and design by Lia Tjandra.

As the editors at Art Practical and Daily Serving get ready to take their end-of-summer vacations, we find ourselves swapping reading lists—the articles we’ll dive into once have some uninterrupted time to catch up on what our colleagues have been writing. We’ve gotten so excited about what’s on our lists that we want to share them with our readers. Between now and Labor Day, Daily Serving will feature the efforts of our[…..]

Self-Taught Genius at the American Folk Art Museum

Self-Taught Genius seeks to frame the collection of the American Folk Art Museum as an archive of the culture of self-education in the United States. The exhibition’s organizers draw their interpretation of the word “genius” from roots in the Enlightenment and Romanticism, embracing a definition that underscores the potential in all human beings for exceptional creativity, intuition, and insight. The use of the term “self-taught” embeds[…..]

Michael Riedel: Laws of Form at David Zwirner, London

Michael Riedel. Laws of Form, 2014; installation view, David Zwirner, London. Courtesy the Artists and David Zwirner, New York/London.

“There’s no content being produced, because I’m in the first generation that grew up digital…. We are just transferring all the time: tape, CDs, and now the clouds.”[1] Something radical has been happening for a while in art that has been evading easy classification. The digital fold has facilitated a giant mash-up of layers upon layers of information composed from fragments of fragments. Sound bites, video[…..]