Mary Jones
“Politics are always there, it’s inescapable. If you’re going to be a really good artist, it’s got to be there, because it is there.”
“Politics are always there, it’s inescapable. If you’re going to be a really good artist, it’s got to be there, because it is there.”
“No room for doubt”: the painter on her formalism, subjects, and sense of humor.
Barbara T. Smith takes us on a journey through her life—from 1950s housewife to 1970s radical feminist, and on to her current work at age 81.
For this installment of Post Impressions, Kanishka Raja takes the scenic route from Kashmir to Switzerland in conceptualizing his latest series of paintings.
With Chinatown tat and other trimmings, Whitney Claflin attaches personal significance to otherwise impersonal loot on the grounds of abstraction. Mary Jones talks shop and Twitter with the artist.
“For me, there’s something absolutely affirming and necessary in exploring the negative …” Mary Jones speaks to artist Marc Handelman about multiculturalism, marble, and mountains in the latest Post Impressions.
From a styrofoam egg carton to scenes inhabited by ancestors, Aaron Gilbert’s work brims with a continuity in life force that eerily bridges traditions of painting and spirituality to the present. He discusses the philosophy and politics of his work with Mary Jones.
Joan Waltemath’s paintings are not to be seen, but experienced. Their architectural nature speaks to the body and its 1:1 connection to surface. In this Post-Impressions, Mary Jones speaks to the artist, writer, and educator about the importance of touch and language on perception.
Rebeca Raney (RISD, BFA 2003, and School of Visual Arts, MFA in 2005) knows how to tell a story. It’s not unusual for a conversation that begins over a stack of new drawings to end with a spellbinding tale weaving together sleazy landlords, collapsing Florida real estate, one tough mom and murder.
This June Alexis Knowlton spoke at The Drawing Center’s colloquium on the “Power of Art.” Her topic was “S.L.A.T.”, Super Lame Art Thematization; calling attention to the corruption of the artist’s intention in the presence of evil middlemen.
“I’ve learned to sublimate it a little, and I’ll just scrape the whole thing down with my knife and rag. When this happens I can hear audible gasps of horror!”
