Marcel Proust begins his novel In Search of Lost Time with a famously long passage in which the Narrator describes sleep, or more properly, the antics of his imagination, while semi-conscious. When I read this passage for the first time, the image that most struck me was that of the Narrator sitting in an armchair reading…
Chelsea, New York gallery goers with an astute eye for furnishings will have picked up on the cult status of French mid-century modernist Jean Prouvé. A vintage specimen of his legendary Potence lamp provides scant illumination and surreally displaced period charm to the very public back office at Sonnabend Gallery, for instance; a weatherworn school…
Beyond Sacred: Recent painting from Australia’s remote Aboriginal Communities: The Collection of Colin and Elizabeth Laverty
Colin Laverty is a Sydney doctor, who, along with his wife Elizabeth, has amassed one of the most singular collections of recent and contemporary aboriginal art in Australia. This book documents the collection, containing clear, color-accurate reproductions, photographs of the landscapes in which particular artists work and some portraits. There are informed essays throughout. The…
Dumas and Peyton are united in their limitations as well as their strengths—and, arguably, in their capacity to ensure that their limitations are strengths. Dumas’s photo-dependency gives her imagery political edge. Denial of sensory depth almost punishes viewers for yearning for it, reminding them of the urgencies of injustice and exploitation that this art – and their consciences – should be addressing. Peyton’s style wallows in its own patheticism, as if cloying, ephemeral, illustration-technique are symptoms of self-pity. Such knowingly retarded means sit perfectly with the basically adolescent emotion she taps, which is that of star-struck infatuation.
Magdalena Abakanowicz: The Reality of Dreams at Mary and Leigh Block Museum of Art, Northwestern University
These monumental drawings consist of interwoven lines made with charcoal or gouache that tangle and bind together to form strange organic beings. Forms allude to a tree trunk, a human torso, a flower, or an insect; they explore the ambivalence between nature’s capacity to produce the mysterious pulsating of life which is simultaneously haunted by the treachery of death.
There are few abstract painters at work today who manage to push both metaphor and literalism so hard, simultaneously, as William Tillyer.
The attractiveness of the towering, tree covered mountains in Landscape after Wang Meng’s “Travelers amid Autumn Mountains” is self-evident. But if you cannot also see how this is a copy of a fourteen century imitation of Dong Yuan’s 10th century Travelers amid Autumn Mountains, then who knows what you are missing.
Much of his earlier work has been involved in reconciling his interests in Chinese traditional painting with his very contemporary reading of his own outsider status as a bilingual Latino artist in America.
The tensions between intimate and public, between information and interpretation, in Simpson’s drawings of women’s hair take on a different meaning in a second body of work in what the artist calls the “orchestrated theatrical disaster” of war.