Posts Tagged ‘Painting’

Summer Session – Reading Basquiat: Exploring Ambivalence in American Art

Jean-Michel Basquiat. Hollywood Africans in Front of the Chinese Theater with Footprints of Movie Stars, 1983; acrylic and oil paintstick on canvas mounted on wood supports; 35½ x 81½ in. Courtesy of the Estate of Jean-Michel Basquiat, New York © The Estate of Jean-Michel Basquiat.

The focus of July’s Summer Session is celebrity, and for our first installment we bring you an article from our sister publication Art Practical. Here, Anton Stuebner reviews the first single-author, book-length monograph of Jean-Michel Basquiat, written by Jordana Moore Saggese. While acknowledging the “celebrity politics” at play in Basquiat’s career, Saggese’s critical look at his oeuvre and iconography asserts the artistic merit of his work over his[…..]

Summer Session – Amer Kobaslija at Arthur Roger Gallery

Amer Kobaslija. Sputnik Sweetheart of New Orleans and the End of the World. 2007. Oil on two panels. 85 x 124 ¼ in.

For the first part of our Summer Session, we’re thinking about labor, and today we’re considering the traditional site of artistic work: the studio. Author Jordan Amirkhani notes: “If the studio has traditionally been a place of solace from reality’s complications, this exhibition seems to respond with urgent ambiguity by asking important and unresolved questions about the place of artistic practice within today’s society, and the traditions of Western[…..]

Summer Session – Sofia Leiby: The Drama of Leisure at Devening Projects

Sophia Leiby. Untitled, 2013; mixed media on canvas, 22 x 18 in. Courtesy of the Artist and Devening Projects + Editions, Chicago.

For the first part of our Summer Session, we’re thinking about labor, and today we’re also considering its opposite—leisure. Steve Ruiz’s review of Sofia Leiby’s most recent show at Devening Projects + Editions considers the artist’s time: “With so much else in an artist’s life productively structured, purposefully performed, and in general feeling like work, what could be more radical than insisting that the center of an[…..]

Fan Mail: Gala Knörr

Gala Knörr. Threesome, 2015; phototransfer and oil on linen; 7.8 x 13.7 in. Courtesy of the Artist.

For Gala Knörr, the world of social media is a labyrinth of communication that never ceases to pique her curiosity. She finds inspiration in connecting with random strangers on Snapchat, an increasingly popular app that enables users to share photos, videos, or conversations through private and public messaging without leaving a permanent record. With its informality and speed of sharing, Snapchat has become a hotbed[…..]

Albert Yowshien Kuo: Gonna Be Alright at Hoffman LaChance Contemporary

Albert Yowshien Kuo. Still Boxing, 2016; Oil and Mixed Media on Canvas; 70 x 66 in. Courtesy of Albert Yowshien Kuo. Photo: Albert Yowshien Kuo.

Albert Yowshein Kuo’s solo exhibition, Gonna Be Alright, at Hoffman LaChance Contemporary features three large paintings. In them, he depicts figurative tableaux that obliquely reflect social values such as race and gender. The paintings are familiar and unfamiliar, timeless and contemporary. To simply say that Kuo’s juxtapositions of figures and scenes is surreal would be too easy a summation. While painted in a traditional style[…..]

Robert Irwin: All the Rules Will Change at the Hirshhorn Museum

Robert Irwin. Bed of Roses, 1962; ©2016 Robert Irwin / Artists Rights Society (ARS), New York.

Robert Irwin has had a number of distinct careers as an artist, each with a distinct group of peers and beliefs. All the Rules Will Change presents the best known but least seen of these careers: the studio painter of the 1960s, who began the decade as a conventional Abstract Expressionist, and ended it by closing his studio and abandoning a practice of painting that[…..]

From the Archives – Weaving, Not Cloth: Mark Bradford at SFMOMA

Mark Bradford, Potable Water, 2005; billboard paper, photomechanical reproductions, acrylic gel medium, and additional mixed media; 130 x 196 inches; collection of Hunter Gray; © Mark Bradford; photo: Bruce M. White

We always like to see artist Mark Bradford’s name pop up in the press. Of course, there’s the fantastic news that Bradford will be representing the U.S. in this year’s Venice Biennale, in addition to last week’s cheekily delivered critique of art auctions (while onsite at Christie’s). Today, we’re republishing Bean Gilsdorf’s meditations on the tactility of Bradford’s work in relation to textiles. This article[…..]