The commercial success of artists like Steve McQueen and Chris Ofili shows how unstable the career can be. Continue reading
In the interregnum of this socially distanced spring, reading Hal Foster’s What Comes After Farce? Art and Criticism at a Time of Debacle felt like a whirlwind tour through a period that had suddenly become historical, much faster than its author could have anticipated. Out from Verso Books today, the volume assembles eighteen short texts […] Continue reading
Kahn has frequently portrayed contemporary civilization as a wasteland, but No Go Backs may be her starkest treatment of the theme to date. Continue reading
“The Unknown Artist,” an exhibition organized by Lucy Cotter, probed the very values of attribution, with eleven unattributed objects from around the world that spanned twelve centuries and ten contemporary artworks exploring anonymous making in present contexts. Continue reading
In the popular imagination, home movies are rather like opinions: everyone has them and they are usually lousy. Such films conjure a series of unflattering associations, from the embarrassing footage on “America’s Funniest Home Videos” to endless vacation reels to birthday party documentation ruined by an errant thumb on the camcorder lens. Home movies are […] Continue reading
Jean Shin made this reality strikingly visible in “Pause” (2020), an installation at the Asian Art Museum of San Francisco for which she turned thousands of discarded phones, laptops, hard drives, and cables into a sculptural landscape. Continue reading
In a comic reversal of the usual roles, it’s the parents hiding the porn from their children in Circus of Books, the new Netflix documentary by artist, musician, and filmmaker Rachel Mason. Continue reading
Since she first began embroidering in 2013, Emillie Ferris (previously) has stitched a few rows nearly every day. The United Kingdom-based artist creates dense thread paintings of butterflies, bees, and other creatures surrounded by vibrant, scattered florals. Her lengthy stitches form precisely colored patterns and rows, offering a distinct texture to each wing and antennae.
Ferris tells Colossal that much of her work is based on vintage entomology illustrations, which she reviews multiple times before beginning one of her realistic projects that are “inspired by nature, with a tiny sense of magic.”
I love to try and emulate a sense of romanticism in my embroideries.
Though water is a central theme, the approach to it is muddied by the fact that each work says more about its own format than anything else. Continue reading
Suzanne Jackson’s exhibition at Ortuzar Projects was an autobiography in visual form. Continue reading
Los Angeles–based artist Ragen Moss creates sci-fi-ish sculptures in which biomorphic forms made of clear polyethylene contain organlike objects and hang from metal armatures, suggesting cocoons or alien pods. Continue reading
Hans Hofmann hung over this exhibition of Mike Kelley’s paintings like an oppressive father figure to rebel against. Continue reading
As demonstrated by the paintings in the Metropolitan Museum of Art’s retrospective of Vallotton’s work, “Painter of Disquiet,” the artist was a fine colorist, on par with his better-known peers. Yet his signature contributions to modern art eschewed the riotous chromatic wallpaper of Bonnard and Vuillard—and even color in general. Continue reading
One could speculate that the Shed’s figuring of Agnes Denes as an unclassifiable savant more in league with Renaissance humanists than with her direct contemporaries serves in part to bracket the question of her relative absence from canonical narratives of postwar art history. Continue reading