Search

The article features Indigenous painter Santiago Yahuarcani and his art works. Topics discussed include the subjects of his paintings, his family background, his inspiration for his paintings, his use of a bark cloth as a canvas for his paintings, and the depiction of Indigenous deities and mythological narratives in his paintings.

The article reviews the exhibition "Keyhole" at Cheim and Read, art gallery in New York City, featuring large-scale paintings and works of paper by artist Tal R.

In this article, the author who is photographer talks about significance of dark room in photography. He informs about processing papers at the photograph conservation darkroom at the Metropolitan Museum of Art, New York and working with a box of Kodak Kodabromide E3 photographic papers; and the art work "Celestographs" by Johan August Strindberg.

The article reports on artist Unica Zürn. Zürn was born in 1916 in Grünewald, Berlin, Germany and is most known as being associated with Surrealist artist Hans Bellmer. She was both an author and an artist and featured pain and suffering in her work. She committed suicide in 1970 at the age of 54.

The article reviews the exhibition "Martín Ramírez," by the artist Martin Ramirez at the Milwaukee Art Institute in Milwaukee, Wisconsin from October 6, 2007-January 6, 2008.

The article presents a conversation between Laylah Ali and William S. Smith on figures of colors. Topics include paintings on paper from Ali's iconic "Greenheads" series appear everywhere in New York and Ali creates figures that she calls a universal quality; and Ali's paintings convey visual information to suggest perplexing, uncanny scenarios that hint at looming violence or offer glimpses of community rituals.

An image of the sculpture "Insomnia," by Jeanne Silverthorne is presented.

The article discusses blockchains and crptocurrencies. Particular focus is given to how these new forms of currency relate to and could influence the art market. Additional topics discussed include certificates of authenticity for artworks, external paper trails in the art world, and copyright and the book "Ownership of the Image," by philosopher Bernard Edelman.

The article discusses the gathering of artists and activists at the lower Manhattan branch of James Cohan Gallery in New York City last October 15, 2017 to briefly occupy artist Omer Fast's room-size installation of things including two defective automated teller machines (ATMs), a bottled-drinks cooler and red paper lanterns. The meeting of Chinatown Art Brigade with the Chinatown Tenants Union of CAAAV Organizing Asian Communities for the project "Here to Stay" is highlighted.

The article comments on two New York exhibitions that featured work of artist Nancy Spero. Three gouache-and-ink-on-paper works from Spero's original "War" series appeared in "Persistent Vestiges: Drawing from the American-Vietnam War" at the Drawing Center. Spero's "Cri du Coeur," a 160-feet-long printed-paper frieze was seen at Galerie Lelong.

The article focuses on works by artists' collective Paper Radio which included members Ben Jones and Christopher Forgues. Topics discussed include inclusion of fantasy adventures and psychedelic space operas in works by the collective; their television cartoon series "Stone Quackers" for the FXX network television channel; experiments of Forgues with hand-made radios and use of pencil for printing of their cartoons.

Informs about the exhibition of art works by Poussin, at the Houston Museum of Fine Arts.

An interview is presented with the Austrian artist Heimo Zobernig. Topics addressed include: his use of mannequins in some of his works, such as in his video piece "No. 19," his use of tape in the creation of his grid paintings, and three ongoing exhibitions of his work being shown at the Mudam gallery in Luxembourg, the Petzel Gallery in New York City and the Nicolas Krupp Contemporary Art gallery in Basel, Switzerland.

The article focuses on the exhibition "Material Intimacies" which reminded that personal intimacy, even the sort highlighted by the ongoing pandemic, is expressed materially—and shaped by social and historical forces. Topics include examines that Huong Ngô's Reap the Whirlwind comprises several serigraphs of Indochinese women, printed in virtually indecipherable fashion on high-gloss black paper.

This article presents a lively retrospective of New Orleans, Louisiana artist-preacher Sister Gertrude Morgan who demonstrates her burning engagement with the language and imagery of Christian redemption. The medieval monks pictured the Four Horsemen and the Woman Clothed in the Sun and the Seven-Headed Beast in bright colors against airless, vivid, striated grounds. Morgan did the same, if more loosely, in her renditions of the sacred scenes--in acrylic and crayon on paper and cardboard, and sometimes on homely objects like paper plates, toilet-paper rolls, adhoc megaphones and handmade fans.

An interview of artist Betye Saar is presented. She discusses an exhibition of her work at the Los Angeles County Museum of Art (LACMA) from September 22, 2019 to April 5, 2020. Her views on racist depictions of African Americans are addressed. Her search for materials at locations such as flea markets is described. She notes the notion of assemblage.

The article discusses the work of the German artist Thomas Demand. The artist is known for creating full-size paper replicas of interiors which he then photographs, before ultimately destroying them. The interiors are based on photographs of newsworthy sites which have appeared in the media. According to the author, Demand counters the distractions of media glut by creating pared-down, subtle images. Particular focus is paid to "Control Room," which features the control room of Japan's Fukushima Daiichi nuclear power.

The article explores the art and career of U.S. painter Clyfford Still. The author reflects on the opening of the Clyfford Still Museum in Denver, Colorado and his role in the Abstract Expressionist movement. Other topics include displays of Still's personal papers, the influence of the frontier landscape on his work, and studies of Native American Indians.

Features an exhibition by visual artist Kiki Smith entitled "Kiki Smith: Prints, Books, & Things" held at the Museum of Modern Art in Queens, New York. Use of paper, special screens and multiples in conveying the artist's thoughts; Thematic organization of drawings and photographic engravings, Crudeness of expression in earlier works.

Comments on the traveling exhibit 'Dreams and Realities,' which featured artist Edwin Dickinson's paintings and works on paper. Dickinson's reputation as an artist; Subjects of Dickinson's work; Influences on Dickinson's work.

Reports on United States artist Mary Frank's reliance on additive and layering strategies that mimic man's self-construction. Decision to stop making clay sculptures for which she was known to concentrate to painting; Shift to triptych format; Paper-based artwork.

The article offers information on the works of painter Laura Owens. Topics discussed include paintings of Owens made with art materials such as acrylic, oil, vinyl paint and charcoal; reference of Owen such as Jonathan Lasker's graphic grids-plus-sculptural-squiggles; and acquisition of the paintings of Owens by various exhibitions and biennial.

Critiques the works of Sigmar Polke on exhibit at the Museum of Art's `Sigmar Polke: Works on Paper 1963-1974'. Includes `Potato Heads; Nixon and Khrushchev (ca. 1965)'; `The Apparition of the Swastika (ca. 1963)'; `Raster Drawings'; `Moderne Kunst (1968)'; `Composition XZ (1968)'; `The Ride on the Eight of Infinity, I-IV'.

Presents information on various artists and their work from the 19th century. Reference to artist Georges Seurat and his painting called Georges Seurat: Bathers at Asnieres, 1884, oil on canvas which is at the National Gallery in London; Information on the painting called Jean-Baptiste-Camille Corot: Scene with a Bride, 1834, oil on paper which is show at the National Gallery of Art, Washington D.C.; Additional information on other art work.

Discusses the Cuban-American installation artist Felix Gonzales-Torres and his work. Gonzales-Torres' aim of isolating and accentuating contradictions; Jigsaw puzzle pictures; Minimalism in installation objects; Significance of making paper stacks on exhibit available to audiences.

Studies Jackson Pollock's `Black Enamel Paintings' and other, smaller works on paper from 1933-51, comparing the author's views of them from 1951 and the present. Original art world contempt; Picasso's influence; Ongoing themes.

Often read as impersonal and passively submissive to the imagery of commercial culture, Andy Warhol's early works, his celebrity portraits, as well as his depictions of death and violence, are here seen as stark, disabused and decidedly emotional visions of American life. Essay based on a paper given at the University of British Columbia in September, 1986.

In her recent work, artist Michelle Stuart has begun to explore painting, but her natural materials and cartographic allusions remain unchanged. Stuart works with earth and other natural substances on paper. She also does `site' work: art constructed for a particular location. Her best-known site piece is `Stone Alignments/Solstice Cairns' on Rowena Plateau in Oregon.

The art of Patrick Ireland, recently represented in a show of 59 paper and rope drawings, plays with our conventional perceptions of order and disorder. The spatial ambiguities of these drawing suggest the tensions between ourselves and our institutions. Exhibition of his work at the National Museum of American Art.

The article offers information on the works of artist Mimi Gross. Topics discussed include painting of Gross titled "Elevator Ladies," "At the Five Spot," and "At the Automat;" installation art works of Gross such as City of Chicago, Discount Store, and Ruckus Manhattan, and art materials used by Gross for her art works such as gel pen, gouache, oil paint and crayon. It mentions about the set and costume designs by Gross for dance performance Antipodes choreographed by Douglas Dunn.

An interview with Hirshhorn Museum paper conservator Stephanie Lussier. Among the issues she discussed include her experience of working with living artists, citing a Joseph Cornell piece called Shadow Box as one of the most memorable conservation projects she has worked on, and her involvement in the acquisition process at the museum.

Comments on the art works of Caio Fonseca shown at the exhibition "Inventions: Recent Paintings by Caio Fonseca" at the Corcoran Gallery of Art in Washington, D.C. and at an art show at Paul Kasmin Gallery in New York City. Focus on mixed-medium canvases and gouaches on paper; Fonseca's creation of open-ended set of visual possibilities; Fonseca's painting techniques.

Highlights the "Behind Your Eye," a multitude exhibition presented at the Neuberger Museum in Purchase, New York. Number of boxed images of "Attracted to Light" series from 1996 to 2003 formed the core of the exhibition; Inclusion of handmade books, video projections, other prints and an enormous sliding screen of tree images in the show; Printing of images of trees by inkjet on gampi paper.

This article focuses on painter Jane Masters' work. He continues to employ small, repetitive gestures to make labor-intensive, symmetrical patterns, frequently covering large surfaces. In the past, she has hung whole rooms with her own silkscreened wallpaper, the paper covered with intricate and precise silverpoint spirals. Works in her recent series of scratchboards of black ink on kaolin have a shimmering, radiating, wavelike imagery that looks computer-generated but is completely hand-made. In her latest series, she uses a crafter's wood-burning tool to singe thousands of tiny holes in sheets of heavy white 24-by-19-inch drawing paper.

The article features Caribbean-American artist Allana Clarke whose works depict a history of colonialism, sugar plantations, and consumption. She was born in Trinidad and raised in New York and always had an interest in street photography. Her recent work tackles troubling norms and practices she experienced in her youth. She also adopted cocoa butter as a material for her sculpture.

The article features British-Nigerian artist and filmmaker Karimah Ashadu who honors the daily labor of African workers. She was born in London, England but was raised in Lagos. She was initially trained as a painter but performance and radio were added to her interests as she moves between cities and artistic mediums. She also created her own production company called Golddust by Ashadu in 2020.