Aesthetics

36 Articles
Sorted by
Productive Creativity: On Janina Wellmann’s The Form of Becoming: Embryology and the Epistemology of Rhythm, 1760–1830 by Catherine Despont
Wellmann1

Exploring the lost connection between aesthetics and science.

Iman Issa by Andrew Weiner
Iman Issa Bomb Magazine 01

A New York- and Cairo-based artist unpacks her understanding of heritage and how it can operate in contemporary art.

Max Galyon by Jacqueline Humphries

This fall, Max Galyon, at my invitation, mounted an exhibition of his paintings and sculptures in my studio in Sunset Park, Brooklyn. The show was intended to create a setting for spontaneous conversations between artists outside of any commercial context, and was open to the public on certain days.

Carolee Schneemann by Coleen Fitzgibbon
Carolee Schneemann 01 Bomb 132

Breaking the Frame, a film by Marielle Nitoslawska about Schneemann’s unique legacy, serves as a departure point for an exchange about the “beauty paradox,” historical and contemporary patriarchies, and the artist’s ongoing subversion of gender codes.

R. H. Quaytman by Antonio Sergio Bessa
O Tópico, Chapter 27 01

On painting, architecture, and working in “chapters.”

Juan Uslé by Shirley Kaneda
Usle2

“I begin listening and recognizing silence, meditating until I hear the blood circulating, and then start following the beats, making marks, one by one, line by line, emptying myself until the entire surface of the canvas is covered.”

Etel Adnan by Lisa Robertson
Adnan 01

I took the morning TGV from Poitiers to Paris on January 15th to ask Etel Adnan a question. She was about to receive France’s highest cultural honor, the Ordre de Chevalier des Arts et des Lettres. Her collected writings are imminent with Nightboat Books, and she has been the late star of Kassel. 

Michael Portnoy by Jovana Stokić
​Michael Portnoy 1

The artist discusses abstract games, the dangers of Relational Aesthetics and Portnoy’s recent participatory work 27 Gnosis.

Fanny Howe by Kim Jensen
​Fanny Howe

I never met a kinder man than the homeless alcoholic who introduced me to the father of my kids. He was my teacher through a period of my life which was both an actual and an allegorical journey.

Josiah McElheny by Gregg Bordowitz
Mcelheny 1 Body

“History has shown that universalism is a step away from totalitarianism—a deadly kind of erasure that I find horrifying. The fear of fascism undermines my sensuous relationship to those things. I often wonder, are there any other alternative aesthetics?”

Charles Long by Andrew Winer
Long 9 Body

“But here is what is most important to me—throwing myself into the present, the unanswerable, the unknown, the unquantifiable.”

Rachel Hovnanian by Mimi Thompson
Rachel Hovnovian 5 Bomb Body

Although beauty’s fragile existence indicates its imminent end, our culture seems determined to keep youth’s flawless face and undeniable power on extended loan.

Charline Von Heyl by Shirley Kaneda
Charline Von Heyl 1

I first came across Charline von Heyl’s paintings in the mid-’90s. She had moved to New York from Germany in 1994, having had her first New York solo show at Friedrich Petzel Gallery.

Anthony Huberman’s For the Blind Man in the Dark Room Looking for the Black Cat That Isn’t There by Mónica de la Torre​
Article 4816  Blind  Man 1

“Meow!” might serve as the inscrutable sound bite of this traveling exhibition curated by Anthony Huberman which started at the Contemporary Art Museum in St. Louis last fall and ends at the Culturgest—Fundação Caixa Geral de Depósitos in Lisbon this summer.

Jacqueline Humphries by Cecily Brown
Humphries 01

It’s a relatively limited type of adjective that clings to recent abstract painting: intricate, quiet, lyrical, seductive, mysterious, atmospheric.

Roxy Paine by Tod Williams & Billie Tsien

As architects we work for many different clients on a wide variety of projects, from private residences to laboratories, swimming pools, libraries, and museums.

Who Cares by Alexander Seth Cameron
Creative Time

In 1846 Edgar Allan Poe composed an essay titled “The Philosophy of Composition” in which he describes writing “The Raven” as though it were an entirely rational, top-down exercise, involving no nebulous inspirational moment.

Andrew Benjamin’s Disclosing Spaces: On Painting by Saul Ostrow
Article 5610  Andrew  Benjamin

Here we are, if not on the frontlines of the culture war, then at least among the reserve forces. 

Luc Tuymans and Kerry James Marshall
92 Tuymans 2 Body

Despite their very different cultural backgrounds, Tuymans and Marshall find common ground in their views of making and viewing art: its capacity to convey meaning, its frozen moment captured, its physicality, its value and effect.

David Levi Strauss by Hakim Bey
David Levi Strauss 01

The relation of images is the crux of writer David Levi Strauss’s work, though it’s by no means a sedentary position. He sat down with longtime friend and writer Hakim Bey to discuss how images operate in the public imaginary.

No more results to load.
Nothing found—try broadening your search.