Richard Mock, First Day of Spring, Desert Visions, blocks cut in 1978, 13 × 16½ inches. Courtesy of Jon Leon Gallery.
Richard Mock, Crossing Fate’s Boundaries, Desert Visions, blocks cut in 1978, 13 × 16½ inches. Courtesy of Jon Leon Gallery.
Richard Mock, Hot Ponderings, Desert Visions, blocks cut in 1978, 13 × 16½ inches. Courtesy of Jon Leon Gallery.
Lucy Skaer might be hiding a time machine.
The Library of America, doing what it does best, offers six of Ward’s groundbreaking woodcut novels from the 1930s in a beautifully printed two-volume set.
Untitled sculpture and Cat Scan silkscreen and Xerox process print on Masa Japanese paper, edition of 25, by Steve Keister.
Originally published in
Edouard Roditi by Bradford Morrow, Taylor Meadeby Alf Young, art by Elizabeth Murray, Ellen Phelan, Pat Steir, and more.
Work that is just about the technical or conceptual, personal or political, is fine; it meets the world with what’s in fashion. But there’s something else bordering on magic, that brings an artwork home, makes it land and resonate. You can’t really teach that so much as conjure it.
Kara Walker
