“We never thought, ‘We have to give them dignity.’ We thought we have to give them empathy.”
Embracing boredom and creative constraints, Katchadourian tells of in-flight artwork and other conceptual projects.
Old iconography in a new France
In the spring of 2015, An-My Lê was invited by film director Gary Ross to photograph on the set of Free State of Jones, his period war film inspired by the life of Newton Knight, a Mississippi farmer and Southern Unionist who led an armed revolt against the Confederacy in 1864.
Humor, commerce, and family play big roles in Ethridge’s conceptual photography.
From Lagos to LA, a young painter’s images resonate with meaning, both personal and political.
While the art-world pendulum predictably swings back and forth between a taste for abstraction and an embrace of figuration, some artists remain steadfast in their pursuits. Such is the case with James Esber, whose work has long sought to merge these seemingly opposed tendencies.
MOLLY, MERCY, MADELINE,
MYRA, MAGGIE, MEREDITH,
MARLEY, MAGDA, MARGARET,
MINDY, MILLIE, MAGDALA,
MYRNA, MOIRA, MARIANNE,
MARLA, MAURA, MARIGOLD,
MEGHAN, MARY, MILLICENT,
MAITE, MAPLE, MITZI.
This work by Jonathan Horowitz was produced as a poster for the Jewish Museum exhibition Take Me (I’m Yours), on view September 16, 2016–February 5, 2017.
After Hurricane Katrina, Brandan “Bmike” Odums realized that the graffiti he and other artists were making in the abandoned buildings around New Orleans had an inherent political value, not just because of the subject matter (though Odums himself had always had an affinity for depicting civil-rights icons) but also because creating art in those depopulated spaces foregrounded their meaning, calling attention to what they had once been, what they had been allowed to become, and why.
“I want the people I collaborate with to understand that they can move a way from the realities they’ve been placed into, that they can create a reality.”
“A solar is a peculiar multicultural habitat; the apartment tenements represent the complex layers of Cuban society. Everyone lives in tiny converted rooms with almost no privacy.”
Amid recollections of a joint trip to Haiti, photographer Deana Lawson and painter Henry Taylor parse the art of portraiture in each of their different mediums.
Thanks to his son, Harrod Blank, the filmmaker’s forty-year-old documentary on musician Leon Russell is finally released.