Joffe is not a perfectionist. Instead, she is intent on capturing a moment in time, not with a photographer’s precision, but as a painterly tableau.
One of the most interesting aspects is Azami’s negative capability: her technique demonstrates a willingness to expunge the self in favor of a poetic exactitude of description.
A persistence of hard-edged nonobjective painting shows the lineage of modernism hanging on, even if only by the fingernails.
Her aphorisms are generalizations with political intent.
Trying to fail has played a major role in the work of Albert Oehlen.
Brilliantly colored, covered with decorative motifs and gestural abstractions, the work suggests a gorgeous manuscript, a place where the politics of place and the pain of indifference no longer exist.
The complications of scale bring about violent contrasts and juxtapositions, many of which make little evident sense; this is, I think, a metaphor for the anarchy of war, as well as the dishonesty that provided moral cover for those politicians who originally wanted to invade Iraq.
The painter Barkley L. Hendricks caught not only the mood, but also the dress of black Americans in the late 1960s and early 1970s. Indeed, the subhead of the Studio Museum’s exhibition, “Birth of the Cool,” gives the nod to the development of a style whose casual hipness and intimated militancy marked a generation of African Americans.
Lin has managed, through wit and a visionary interpretation of speech, to create a low-relief sculpture that refers simultaneously to American political and artistic history.
When Mullican asserts in writing that the “preoccupation with materials and processes seems to clutter up the phenomenon of what interests me,” he is making it clear to us that no individual person or thing can contain the entirety of that which engages him. Thus the artist reworks appearances as a means of describing the gestalt that both energizes and evades his hand.