Illustration

Peter Saul: Some Crazy Pictures at David Kordansky Gallery

Peter Saul. Singing Sandwich, 2014; acrylic on canvas; 60 x 72 inches. Courtesy of David Kordansky Gallery. Photo: Fredrik Nilsen.

In an interview earlier this year, Peter Saul confessed, “I have to admit I’ve been enjoying myself. But through a large part of my life I’ve been desperately trying to think of some good reason for all this, and I haven’t really thought of a good reason. So that’s that.” Saul’s work is the kind that begs critics to ask, “But why?” while simultaneously and[…..]

Entang Wiharso: Never Say No at Singapore Tyler Print Institute

Entang Wiharso. Shelter: Forest of Eyes, 2015; Aluminium sheet, laser cut, C-type print; 127 × 184 × 3 cm. Courtesy of STPI.

Set in profile, a man casts a doleful eye on a smaller figure that perches on his forehead and pulls insistently at his tongue, while a miniature chainsaw balances threateningly on his head. The palm of his hand is pierced with a plant-like dagger, and little bodies tumble out feet-first from the bottom of his torso, already bearing knives and swords in preparation for a skirmish.[…..]

Justin Mortimer: Sevastopol at Future Perfect

Justin Mortimer. Jabalya, 2014; oil on canvas; 50 x 70 cm (detail). Photo: courtesy of the Artist and Future Perfect Asia, Singapore.

Annexed by Russia in 1782 during the reign of Catherine the Great, Sevastopol became an important naval base to the Russian Black Sea Fleet only to fall decades later to allied British, French, and Turkish troops during the Crimean War (1853–56) after a long, protracted siege that lasted eleven months. During the existence of the Soviet Union, the famous fortress city was transferred to the Ukrainian[…..]

Tomi Ungerer: All in One at the Drawing Center

2.	Tomi Ungerer. Untitled (drawing for The Party), 1966; ink and ink wash on paper;
18 x 18 in. Courtesy of the Collection Musée Tomi Ungerer – Centre
international de l’Illustration, Strasbourg. Photo: Musées de la Ville de Strasbourg/Mathieu Bertola.

Tomi Ungerer: All in One, now on view at the Drawing Center, is a joyful retrospective of the artist’s career as children’s-book author, satirical cartoonist, political illustrator, and erotic artist. Sadly it’s also incredibly timely. Because though Ungerer was a beloved illustrator, he was also rejected for the explicit imagery in his political and erotic work. As we engage in a global conversation about shock[…..]

Fan Mail: Lisa Wicka

Lisa Wicka. Construction of Self (detail), 2013; House paint, vintage wallpaper, laminate flooring, wood and chalk line; two interior spaces: 5 x 7 x 15 feet and 4 x 5 x 6 feet. Courtesy of the artist.

At the heart of Lisa Wicka’s artwork is a set of keenly nuanced spatial and visual adaptations. Her work transforms motifs, compositions, and ideas—human figures, abstract shapes, and reinterpretations of physical and perceived spaces—into unified bodies. Her small canvases, combine-like sculptures, and large-scale installations all mark their spaces of display with striking gravity. Most arresting is Wicka’s ability to create compositions that profoundly alter visual[…..]

Michael Craig-Martin: Objects of our Time at Alan Cristea Gallery

(from left to right) Michael Craig-Martin. Objects of our Time: Takeaway coffee, 2014; Objects of our Time: Memory stick, 2014; both works, series of 12 screenprints, edition of 50; 50.0 x 50.0 cm. Courtesy the Artist and Alan Cristea Gallery. NPC.

Is a glass of water just a glass of water? Consider it for a fraction of a second and suddenly the glass of water carries a lot of Kosuthian baggage—the mind attaches a label to it, compares it to an ideal, then judges its function, and its value changes. Deconstruct the contextual outcome of that mental layering, and the glass of water not only offers[…..]

Fan Mail: Anna Valdez

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The words “yo no soy Romantica,” or “I am not romantic,” are written in large orange cursive letters on a flat blue background; the text is partially hidden by the green cactus planted in a bright pink pot in the foreground of Anna Valdez’s illustration Yo No Soy Romantica (2013). Whether or not the artist intended to indicate the cactus as the speaker of these[…..]