From Lagos to LA, a young painter’s images resonate with meaning, both personal and political.
“It turns out making art was the best idea [for me]. My mother’s idea was good because it got me started. She said, ‘Look, you are skinny; you are little. You can’t hang out with your daddy and them big guys.’”
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.
Foster and Keene discuss the strategies for black resistance in their respective new books—the poetry volume A Swarm of Bees in High Court and Counternarratives, a collection of short fictions.
The painters discuss facial symmetry and mirror neurons, the interplay between image and texture, and their shared interest in storytelling through figuration.
“I would like to do more of that kind of thing: travel, spend some time in a place and really work from a different vantage point. I don’t know what will happen in my work from that, but I trust my ability to find the tools to find my way into my work. I think I will sit out in the woods more.”
On being an outsider, the nature of authenticity, and the depths of pop-culture.
Deana Lawson’s photographs are now featured in MoMA’s New Photography exhibition. Carmen Winant sits down with Lawson to discuss the visual vernacular of her background, large and small format photography, and Audre Lorde’s definition of the erotic.
I met Mickalene Thomas a decade ago at the Yale University School of Art and liked her instantly. She was a standout for her energy, drive, open–mindedness, and raw talent. For this interview I visited her in her Brooklyn studio where we were surrounded by a half dozen or so of her new paintings in various stages of development.
Pendleton, whose new work is on view now at Pace Gallery, discusses the connection between civil protest and live art with poet Thom Donovan.
Scott’s provocative work challenges pedestrians in Philadelphia’s bustling Logan Square to consider the fate of local high schoolers will be on view through November.
Rachel Foullon builds what she calls fluid hosts, decklike staircases that hold, in juxtaposition, her paper and pulp sculptures.
Despite their very different cultural backgrounds, Tuymans and Marshall find common ground in their views of making and viewing art: its capacity to convey meaning, its frozen moment captured, its physicality, its value and effect.
There is a deceptive simplicity to Michelle Charles’s images of medicine bottles, honey jars, bars of soap, and other household objects.
“I find that it’s not enough of a mission when art is supposed to be about one thing or another because to be art, to begin with, it should be about everything at once. It should present a kind of all-encompassing world.”
Critic David Pagel describes the work of Rubén Ortiz-Torres as both “phantasmagoric and realistic.” Torres creates images that are overwrought, cliched and fantastic, which also reflect the sociology of border crossing—from both sides of the border.
For Kerry James Marshall, 1997 was a good year: a MacArthur Fellowship, the Whitney Biennial and Documenta X. He spoke with Calvin Reid about the future of painting.