For BOMB’s Oral History Project, Odita, known for his geometric paintings, recalls growing up as a refugee from the Nigerian Civil War and the influence of his father, a historian of African art.
Two artists find a mutual fascination with both the aesthetic qualities of repetition and the mechanical means of reproduction.
When I look at Jordan Kantor’s visual art, I think of poems.
David Salle on how Kate Manheim’s work as an actor informs the creation of her rich, kaleidoscopic abstracts.
Camouflage was first nature, then it was strategy.
Mexican artist Vargas-Suarez Universal is often mistaken for a collective, and indeed his practice—which uses sound, science and the archives of organizations ranging from the Queens Museum to NASA—is as varied as any many-authored project.
I have been following Stephen Mueller’s work for 20 years. I didn’t understand it right away but some work plants itself in your mind and its logic begins to grow there. These earthly sensual paintings display a rare pictorial intelligence and an emerging cosmic ferocity.
Siena successfully turns his images into what they are not, coaxing their “other” from them. Seemingly without conscious intention, he transfixes the viewer like a magician, making the nonexistent become existent, in the most indirect way.
The art historian Carl Schusler’s vast archives document the decoding of patterns originating in the culture of the Paleolithic.
Oil on canvas painting, titled The Commands of Desire, by Shirley Kaneda.