Language Art (Fine Arts)
Renee Gladman is the author of ten works of prose and poetry, most recently Calamities, a collection of essay-fictions. Her first monograph of drawings, Prose Architectures, was published by Wave Books in 2017. She lives in New England with the poet-ceremonialist Danielle Vogel.
For Hoff, distribution networks serve as creative agents. Musician Eli Keszler queries the artist and publisher of Primary Information on paintings based on viruses and syndromes, and also on his pop-leaning sound works.
Both artists overturn photographic conventions to slow down our reading of physical and verbal landscapes. Their exchange touches on the retina, the sun, and camera obscura.
With exuberance, Jablon’s paintings tell the story of their own making. They are what they are by showing how they got there and how they take up their subject—and that subject is text.
Discovered shortly before his death, Ademeit’s work is composed of photographs and annotations that tell the story of an individual undergoing an emotional crisis and attempting to establish a sense of order in a world that he considered to be chaotic.
When I meet Oscar Murillo for the first time, it is in Central London. Murillo lives and works in East London.
“Observations, errors, + corrections” is a series of drawings I began in 2009 based on observations of the environments or situations I find myself in.
Painter Suzanne McClelland discusses visual acoustics, marginal language and musical references with poet Barry Schwabsky.
This First Proof contains two pieces by Elena Berriolo, from Various Music For a While.
Shifting Connections continues with writer and critic Kathleen MacQueen’s take on Joseph Kosuth’s new installation at Sean Kelly Gallery, on view through April 30th.
The image of a lone tree in a desolate landscape, which I saw in a printed photograph, has become a recurring motif in my work, including my recent exhibition 2008 / 2009 < 2009 / 2010 at Sue Scott Gallery, where the image in different forms populated the walls and floors of the installation.
The peripatetic conceptualist (Where’s Al?) talks with artist Cheryl Donegan about Ginsberg’s Howl, the reanimated past, and the overlooked poetry of authorless signage.
Kris Chatterson explores the raw, brash, confident paintings of Wendy White.
Raymond Pettibon found his calling as an artist at about the same time punk hit Los Angeles in 1978.
Speaking through materials, Joshua Neustein recalls cultural memory and history. His elegant and earthy installation Light on Ashes does just this.