Exploring the lost connection between aesthetics and science.
A New York- and Cairo-based artist unpacks her understanding of heritage and how it can operate in contemporary art.
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.
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.
On painting, architecture, and working in “chapters.”
“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.”
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.
The artist discusses abstract games, the dangers of Relational Aesthetics and Portnoy’s recent participatory work 27 Gnosis.
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.
“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?”
“But here is what is most important to me—throwing myself into the present, the unanswerable, the unknown, the unquantifiable.”
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.
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.
“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.
It’s a relatively limited type of adjective that clings to recent abstract painting: intricate, quiet, lyrical, seductive, mysterious, atmospheric.
As architects we work for many different clients on a wide variety of projects, from private residences to laboratories, swimming pools, libraries, and museums.
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.
Here we are, if not on the frontlines of the culture war, then at least among the reserve forces.
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.