Painting

The Conjured Life: The Legacy of Surrealism at the Cantor Arts Center

Gertrude Abercrombie. The Courtship, 1949; oil on Masonite; 21 3/4 × 25 1/4 in. Courtesy of the Museum of Contemporary Art Chicago.

All publicity concerning The Conjured Life: The Legacy of Surrealism at Stanford University’s Cantor Art Center features The Courtship (1949) by Gertrude Abercrombie, one of six artists from the Chicago-Milwaukee-Madison parasurrealist group of the ’40s. I saw this painting once in LACMA’s all-women show of Surrealists, In Wonderland (2012), and looked forward to our reunion some five years and 361 miles hence. The inclusion of a[…..]

Interview with Njideka Akunyili Crosby

I Refuse to Be Invisible, 2011, acrylic, charcoal, and xerox transfer on paper, 24 × 16 inches. Courtesy of the artist.

Today from our friends at BOMB Magazine, we bring you author Erica Ando’s interview with Nigerian artist Njideka Akunyili Crosby. Crosby says of her paintings, “I always make sure the woman is in a position of power—where her agency is not questioned and where she is an active participant.” This article was originally published in BOMB 137: Fall 2016. The figures who people Njideka Akunyili Crosby’s[…..]

From the Archives: Interview with Judith Bernstein

QUATTRO CUNTS 2015 Oil on Canvas 84 x 84 Inches

In our current age of doublespeak and “alternative facts,” Elspeth Walker’s candid interview with artist Judith Bernstein stands as a paragon of direct communication. As Bernstein says: “[I]t’s important to be true to what you want to say and how you want to handle that. You have to keep moving forward. You can’t just stay where you are. You really have to constantly keep moving in terms of[…..]

An Atlas of Mirrors: Singapore Biennale 2016

Titarubi. History Repeats Itself, 2016; Gold-plated nutmeg, copper-plated wood, nickel-plated wood, burnt wood, sampan, wood, aluminium, copper, soil, light and nutmeg perfume; Dimensions variable. Image courtesy of Singapore Art Museum.

There is no shortage of mirrors and maps in the fifth iteration of the Singapore Biennale. Glass mirrors in Harumi Yukutake’s Paracosmos (2016) curve around the main circular stairwell of the Singapore Art Museum, dazzling the eye as light hits their multiple reflective surfaces. Dozens of mirrors appear in their reflections; dozens more yet, to the power of infinity, show up in the reflections of their reflections. In[…..]

Sarah Crowner: Touch the Tile

Sarah Crowner. Beetle in the Leaves, 2016; Installation view.

From our friends at Guernica, today we bring you an interview with artist Sarah Crowner. Author Elizabeth Karp-Evans and Crowner discuss her show at MASS MoCA (open through February 2017), her art-historical influences, craft, and constructivism. Crowner states, “I think that art history can be a medium that can be manipulated in the same way that a material, like paint or clay, can be.” This article[…..]

Juan Acha: Por una Nueva Problemática Artística at Museo de Arte Moderno

Hersúa. Model of Sculptoric Space (Maqueta del Espacio Escultórico) 1979. Photo: Ramiro Chaves.

Juan Acha is finally getting some recognition. Try searching for his texts in English and you will find a handful of articles about his importance, but little directly from the man who remains one of Latin America’s most relevant contemporary art critics and theoreticians twenty-two years after his death in 1995. As a remedy, Juan Acha: Por una Nueva Problemática Artística (Toward a New Artistic[…..]

From the Archives — From Two Arises Three at the Asian Art Museum

Today we bring you Jing Cao’s Shotgun Review of From Two Arises Three, which featured the collaborative work of Arnold Chang and Michael Cherney. As the author describes, the artists crossed divides of medium, culture, and even time period as they redefined and reformed traditional Chinese landscape paintings in their own unique visual language. Sometimes, pausing to reflect upon moments of connection is worth the reminder[…..]