Painting

La Polis Imagi-nada at El Quinto Piso

Liz Misterio. El regreso de Ana Suromal, 2015 (action-art still); action-art and video projection. Courtesy of the artist and El Quinto Piso, Mexico D.F. Photo: Liz Misterio.

What is a city? How can it be conceptualized? How does one create oneself within that geographic and symbolic space? These questions frame the most recent show at El Quinto Piso, La Polis Imagi-nada. The curatorial statement talks about the polis and civic participation in theoretical terms, but the exhibit situates these concepts firmly within the symbolic and geographic realities of Mexico City. El Quinto[…..]

Lawren Harris: The Idea of North at the Hammer Museum

Lawren Harris. North Shore, Lake Superior, 1926; oil on canvas; 40.25 x 50.13 in. Courtesy of the National Gallery of Canada. ©Family of Lawren S. Harris. Photo: ©NGC.

“You need to understand, Patricia, that every Canadian recognizes these paintings,” so explained my friend and guide, a native Torontonian, as we walked through The Idea of North: The Paintings of Lawren Harris at the Hammer Museum. “Canadians who have no other art-historical point of reference know who the Group of Seven are.” This school of early 20th-century Canadian landscape painters occupies the periphery of[…..]

An Evening Redness in the West at the Museum of Contemporary Native Arts

Andrea Carlson. Ink Babel, 2014; ink and oil on paper; 115 x 183 in. Courtesy of the Artist and Bockley Gallery.

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, Alicia Guzmán reviews An Evening Redness in the West at the Museum of Contemporary Native Arts in Santa Fe, NM. When viewers enter An Evening[…..]

Julian Hoeber: The Inward Turn at Jessica Silverman Gallery

Julian Hoeber. The Inward Turn; installation view. Courtesy of the Artist and Jessica Silverman Gallery, San Francisco.

In this closed, infinite system, there is more to ponder than the paradoxical experience of such a visual journey.

Fan Mail: Eric G. C. Weets

Eric G. C. Weets. The Eric G. C. Weets. Looking Around, 2013; oil on canvas; 31.1 x 31.1 in. Courtesy of the Artist.

For Eric G. C. Weets, size does matter. Since 2007 he has been creating sprawling canvases of intertwined line drawings in his studio in Pune, India, where the Belgian artist has lived for the past twenty-three years. In searching for a means to document human experience through form, Weets discovered in scale a conceptual and practical mechanism that served his desire for an expansive, albeit[…..]

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[…..]

How Iraqi Are You?

Hayv Kahraman. Curfew, 2015; Oil on linen. Courtesy the Artist and The Third Line.

From our friends at REORIENT, today we bring you a piece on the art of Iraqi-born artist Hayv Kahraman. Author Natasha Morris sat down with Kahraman at the Frieze Art Fair to talk about her research-based practice. Morris says “To attempt to read the dialogue between text and images in How Iraqi Are You? entails similar cognitive acrobatics, as tableaus of beautiful women hover over jokes about[…..]