Serial Art
“We were relegated to Chick Lit, romance novels, our subjects were love and motherhood and other sexually-defined things. Modern Love mocks that, to some degree. It pushes back.”
Diao’s first comprehensive retrospective, at the Ullens Center for Contemporary Art—fittingly, in the painter’s native China—is the occasion for a conversation that looks back at fifty years of artistic production.
With official-seeming letters folded next to staged photographs, the project moves fluently between the evidentiary and the fanciful.
On painting, architecture, and working in “chapters.”
For the past five years I have been engaged in a quixotic process cataloguing the artifacts of a material world in decline.
To encounter Erica Baum’s “Naked Eye Anthology” series is to reach something akin to a Jacques Guerlain L’Heure Bleu threshold state.
Zoe Leonard: You see I am here after all (2008) documents the artist’s two-and-a-half year Dia installation while expanding upon the art of mechanical reproduction.
By engaging in storytelling, Patricia Esquivias utilizes narrations to re-signify situations and events filtered through her own individual and particular viewpoints.
A few years ago I began producing one-off publications that I registered officially with the International Standard Book Number agency. After a while I started to receive letters from the Legal Deposit department at the British Library asking me why I had not sent copies of my books, as required by law.
A few years ago I began producing one-off publications that I registered officially with the International Standard Book Number agency. After a while I started to receive letters from the Legal Deposit department at the British Library asking me why I had not sent copies of my books, as required by law.
Since 2001, I have structured my work as if it were a book of paintings with evolving chapters: the story unfolds via the exhibition situations, the past work, the paintings themselves, and the viewer’s place before them.
As architects we work for many different clients on a wide variety of projects, from private residences to laboratories, swimming pools, libraries, and museums.
“I try to make my pictures read as plausible stares.”
The three paintings pictured here are from a series Cameron Martin titles Black Sun.
Artist Josh Müller uses a variety of methods to draw into question how audiences interpret film, from resetting and rephotographing travel magazine models to taping a rescreening of a popular television series.
Artwork by Allan McCollum, 1988–90, pencil, 14 × 9½ inches.
