April/May 2013
Forbidden Territories: 100 Years of Surreal Landscapes
Margherita Manzelli interview – ‘I developed a way of denying being a complete painter’
Tadek Beutlich: On and Off the Loom
Two Women Wearing Cosmetic Patches
Christina Kimeze – interview: ‘Making art has been the only consistent thing in my life’
Yulia Mahr – interview: ‘My work is more akin to poetry. It’s a moment of sensory storytelling’
Markus Lüpertz – Pierre Puvis de Chavannes
There: a Feeling | Gregg Bordowitz
Brasil! Brasil! The Birth of Modernism
Click on the pictures below to enlarge
Art Bin: Landyfill Since emerging from Goldsmiths at the beginning of the last major recession, Michael Landy has pursued particular themes across a sequence of big projects.
In the darkest hour, there may be light: Works from Damien Hirst's murderme collection A range of symbols spring to mind when thinking about death: the hooded figure wielding a sickle, the faceless boatman ferrying the souls of the dead across the River Styx, the watery existence ascribed to the souls in Hades' underworld and Purgatory - the quintessential departure lounge where Christian souls gather waiting to pass into eternal bliss.
Dan Flavin Dan Flavin's work is exemplary. Of what? Yet, he preferred to call his works simply 'proposals', rather than sculptures.
Matthew Barney: Drawing Restraint When we speak of executing something - an article, a work of art, a musical composition - we speak of working towards some kind of resolution, of there being a sequence of events causally related and moving forward in time. Sometimes the end product, in the case of art, will stand on its own without a trace of what went before, as if all moments working up to that point have been washed clean, leaving the work immaculate, but in a way, lifeless.
Abstract America: New Painting and Sculpture In his seminal essay