Photography

Female Gazing: Interview with Ana Álvarez-Errecalde

Ana Álvarez-Errecalde. The Four Seasons Series: Symbiosis, 2013-2014. © Ana Álvarez-Errecalde.

Today from our friends at Guernica, we present an interview with Argentinian artist Ana Álvarez-Errecalde. Author Bryony Angell talks with the artist about challenging the conventional portrayal of motherhood, her early career as a documentary filmmaker, and primal super identities. This article was originally published on February 1, 2016. Through the eyes of women artists, motherhood is increasingly a subject of contemporary art. For the Argentine-born artist Ana Álvarez-Errecalde, motherhood was the very impetus for[…..]

Salt/Water at the Photographic Center Northwest

Daniel Hawkins. Union Bay #5, 2013; C-print; 8 x 10 inches. Courtesy of the Artist.

Salt and water: an amalgamation of fundamental, life-sustaining compounds that evokes the sea, sweaty human excretions, and the makings of primordial soup. Independently innocuous, it is the combination of salt and water that produces something transformative—a substance potentially electric and corrosive. It is the coming together of salt and water that sparked the concept for Salt/Water, an exhibition of contemporary photography on view at the[…..]

Know Yourself at the Luminary

Conrad Bakker. The Crystal Land, 2014 (detail); Oil on carved wood panels; 24 ft. x 20 in. Courtesy of The Luminary.

Currently at the Luminary, Know Yourself is a group exhibition that features the artists Conrad Bakker, Chris Bradley, Marianne Laury, Eva and Franco Mattes, Edra Soto, and Julia Weist. The exhibition shares its title with a Drake song in which the rapper looks back on his life, claiming his authenticity and lineage among other artists. He expounds, “I’ve always been me, I guess I know[…..]

Fan Mail: Eva Voutsaki

Eva Voutsaki. From the Traces Within series, 2006-2016. Courtesy of the Artist.

Mythology, memory, and a fascination with the nocturnal are some of the underlying themes in Eva Voutsaki’s photographs. Originally from Drakona, a small village on the island of Crete in Greece, the artist documents and commemorates the unique way in which she understands her ongoing experience as a “modern immigrant.” Now living in Brighton, UK, Voutsaki grapples with notions of migration and belonging, and the[…..]

He Yunchang: Water Forming Stone at Ink Studio

He Yunchang. Inner Sanctuary, 2015. Courtesy of INK Studio.

A clear and joyful light floods the inner gallery of Ink Studio in Beijing, where He Yunchang performed a series of three grueling new works in his exhibition Water Forming Stone. Light dances through candy-colored drinking glasses that are suspended in midair over a pedestal of simulated crystals and jade. It radiates off of the warm white walls cleverly composed of cardboard shipping boxes and[…..]

From the Archives – Women’s Work at Smith College Museum of Art

Carolee Schneeman. Eye Body #1, 1963–79; gelatin-silver print with hand coloring and scratching; 14 in x 11 1/2 in. Courtesy of Smith College Art Museum, purchased with the Judith Plesser Targan, class of 1953, Fund.

We were delighted to see art-world activists the Guerrilla Girls on the Late Show with Stephen Colbert to promote their exhibition at the Walker, which opened last week (on view until December 31, 2016). To round out the historical context of second-wave feminism from which the Guerrilla Girls emerged, today we bring you Lia Wilson’s review of Women’s Work: Feminist Art From the Collection at[…..]

Daniela Libertad: Empujo Puertas que Debería Jalar, Jalo Puertas que Debería Empujar at MARSO

Daniela Libertad. Diagrama 46 [Diagram 46], 2015; graphite on paper. Courtesy of MARSO.

In her solo show at MARSO, Empujo Puertas que Debería Jalar, Jalo Puertas que Debería Empujar [I Push Doors I Should Pull, I Pull Doors I Should Push], Mexican artist Daniela Libertad presents her latest works of sculptures, drawings, videos, objects, and photography. Libertad’s practice has been characterized by her explorations of space and material through relations, rituals, and repetitions. In her exhibition, every piece[…..]