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RECOMMENDED ARTICLES
Invasive Architecture
By Maurice MaultzJUL-AUG 2019 | Field Notes
Camouflage is precisely not invisibility. Light doesn’t pass through camouflage, and neither does camouflage project an image of its surroundings onto itself. Camouflage is very simply this: the confusion of figure for ground.
Bewitching Stagecraft and Competing Objects
By Dillon HeyckJUNE 2019 | Dance
When Jonathan González first emerges from the stage curtains, dragging an ominous, glowing spotlight, only his boots are illuminated. We do not immediately see González’s body, beyond his feet, but we can make out his figure periodically reaching into the light, expanding his stance, and genuflecting towards the spotlight in what looks like prayer.
Neo Rauch: Aus dem Boden (From The Floor)
By Tom McGlynnJUL-AUG 2019 | ArtSeen
In Aus dem Boden (From the Floor) at The Drawing Center, one is presented with the opportunity to delve deeply into the artist’s mode of conjuring up his symbolical derivatives with a series of drawings (not quite studies) for his larger paintings which are helpfully organized by the show’s curator, Brett Littman, into six groupings under the loose headings of absurdist drawings, architectural and landscape drawings, character studies, scenarios and figure drawings.
Warhol Women
By Robert C. MorganMAY 2019 | ArtSeen
Not since an exhibition of Warhol’s screenprints some years ago have I elected to write about the work of this monumental art world figure. Despite the controversy at that time, focusing on the history of Jews in the twentieth century, these prints seemed to hold resonances, both aesthetic and political, yet dissimilar to those embedded in Warhol Women.
