Emmalea Russo




More Articles by Emmalea Russo


Julien Bismuth, Willy Billy, 2013. Digital video, TRT: 23:51 minutes, edition of three, plus two APs. Courtesy of the artist and Simone Subal.

Point at Something: “Very Long Fingers” at Simone Subal

Friday, January 15th, 2016

Misshapen figures reveal new ways of thinking about the human body on display.


Davina Semo, “IT’S GOOD,” SHE WHISPERS. “SOMETIMES I FORGET HOW GOOD IT IS.”, 2015. Pigmented reinforced concrete, cast glass; 42 1/4 x 36 x 2 7/8 inches. Courtesy of the artist and Lyles & King. Photograph by Charles Benton.

Concrete, Leather, Light, Glass: Davina Semo at Lyles & King

Friday, October 23rd, 2015

Semo’s new sculptures use language and erotically industrial materials to manipulate and entice.


Helen Mirra, Waulked Triangle, 2015. Undyed wool from two black sheep, strand of wool dyed with cortinarius semisanguineus, cork, cedar, 100 x 111 cm. Courtesy of the artist and Galerie Nordenhake.

“Not-knowing is most intimate”: Helen Mirra in Conversation with Emmalea Russo

Sunday, September 13th, 2015

The artist discusses her work and her developing approach to its facture.


From Suite Vénitienne by Sophie Calle, published by Siglio, 2015. Images and text copyrighted and provided courtesy of the artist.

Sophie Calle’s Suite Vénitienne: Following as Performance and Book

Thursday, July 16th, 2015

A new book by Siglio reproduces Calle’s 1980 performance, following a near-stranger through Venice.


VG.2014.D.1813.PeaceandLove.framed.web

Darkly Iridescent: Vivienne Griffin at Bureau

Wednesday, March 25th, 2015

The artist uses formalism and psychedelia to explore the ways in which we search for freedom from our personal and cultural histories.