Sto Len is a printmaker, painter, and installation and performance artist. He cofounded the alternative arts space Cinders Gallery in Brooklyn.
“My work simply reflects the world, which seems to have been created by an absolute moron.”
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.
“I’m fighting between control and letting nature take its course.”
Grew rather stout from a
With the landmark publication of De humani corporis fabrica in 1543, Vesalius may have forever linked human anatomy, at least pictorially, with the aesthetics of the sixteenth-century woodcut—its perfect draftsmanship, edifying gore, and rather ham-handed theatricality.
Eight works by Sean Mellyn, including new additions to Paper Monet (begun in 2008) and Eyecharts(begun in 2010).
What better way to luncheon in the garden than on Sean Mellyn’s subversive/commemorative Monet-inspired Chinette? Laurie Simmons speaks with Mellyn about his residency in Giverny and the work that sprung forth from the lily pond.
Lynn Maliszewski talks with artist Rachel Beach, tracing Beach’s preoccupation with transitions in perception, from the sculptural disorientations shown at Like the Spice Gallery to her upcoming residency at the Lower East Side Printshop.
In a once-yearly street-printing event, the San Francisco Center for the Book breaks out a tractor-like road-roller to compression-print linoleum block works.
Peter Elley on how the artist Caio Fonseca and his paintings transcend business-as-usual in the art world.
A collection of photographs, prints, and paintings curated by Douglas Blau. Pictured are various kinds of collections through history from artists such as Jan Steen, Albrecht Dürer, and more.
Lithograph, screen print, collage and stencil piece on a folding, five panel screen of a table set for tea, Caribbean Tea Time by David Hockney. This piece appears in the portfolio The Folding Screen, curated by Ursula Helman.
Mel Kendrick’s wooden sculptures record the history of their own making. Wood has a history inherent in its markings. So too, his work scribbles the process of its being. Cuts are marks, and shapes are cut-out and glued (somewhere else) in a wildly primitive and aggressively peculiar physicality. “The whole process is constantly reinventing itself … a composite of awkward moments …” The awkward moment between indecision and acceptance becomes, in the end, simultaneously their history and their present, a riotous balancing act.