Articles
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3 weeks ago |
news.artnet.com | Katie White
Years ago, the artist Harry Gould Harvey IV came across a fallen black walnut tree in a friend’s yard. He experienced a moment of revelation and felt a sudden urge to make a frame for his drawings from the dying tree. “It defined my practice pretty starkly,” recalled Harvey, who is known for his gothic-inspired frames akin to polyptychs. After years of working as a professional photographer, Harvey, who is now represented by P.P.O.W., had turned to drawing as a more intimate form of expression.
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4 weeks ago |
news.artnet.com | Katie White
Multidisciplinary artist Rafał Zajko disrupts the clean line from past to present and future. Across installations, ceramics, films, and performances, historical art intermingles with contemporary movies and music, at times becoming indistinguishable. The artist’s childhood experiences in post-communist Poland meet his adult life in London’s late-capitalist landscape.
An Elusive Artwork by Gypsy Rose Lee, the Kim Kardashian of the Midcentury, Returns to the Spotlight
1 month ago |
news.artnet.com | Katie White
Gypsy Rose Lee never rushed anything, certainly not a strip tease, and apparently not even her artistic rediscovery. “If a thing is worth doing, it is worth doing slowly… very slowly,” Lee had once quipped. The iconic 20th-century burlesque and striptease performer, whose memoir was adapted into the 1959 musical Gypsy, was a woman with a few tricks up her slip. Known as a writer in her later years, she was also an accomplished Surrealist artist, recognized for her collages and paintings.
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1 month ago |
news.artnet.com | Katie White
“It’s a very stupid painting really, but that’s why it’s a good one,” said artist Michaël Borremans, describing his painting of a brick and a shoe. The Belgian artist—who the New York Times said might be “the greatest living figurative painter”—is known for his unnervingly enigmatic scenes painted sensuously in oils.
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1 month ago |
news.artnet.com | Katie White
When I visited artist Jessica Stoller at her New Jersey studio in a former lace story a few weeks ago she quoted a line from Miranda July’s new book All Fours to me: “In a patriarchy, your body is technically not your own until you pass the reproductive age.” Aging, sex, and the reproductive body have been front of Stoller’s mind over the past years, as she created a new body of her lavish, ribald, and at times even grotesque ceramic works.
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