Portraiture
Building a possible portrait of Chelsea Manning from DNA.
“I take myself, my drawings, and this little bundle of creative forces that is me, and I try to make a chemical reaction with the world.”—Swoon
A collaboration between B. Ingrid Olson and Kate Zambreno.
Embracing divine identity through photographic portraiture.
A painter talks about portraits as love letters, the poetry of country music, addiction and compulsion, drawing out painful archetypes, and finding both resentment and dignity in daily life.
Photographer Peter Funch’s new book, 42nd and Vanderbilt, is a clever meditation on the commute, but more specifically, it’s a tightly designed experiment about routine.
“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.
