Art

In Conversation

MARY FRANK with John Yau

Shortly before her show, Transformations: Wood Sculpture, 1957–1967, and Recent Photographs opened at DC Moore (May 5 – June 4), Mary Frank invited Artseen Editor John Yau over to her studio to discuss the sculptures, drawings  and photographs she would have in the exhibition.

In Conversation

UTOPIAN STRATEGIES: Artists Anticipate their Audiences

Artists are concerned with the question of audience—the relationship between objects and/or process and audience. They are also concerned with art’s ability to mirror the sociopolitical reality and, in fact, to even transform it.

In Conversation

THE PLEASURES OF ART: PETER SELZ with Jarrett Earnest

As Chief Curator of Painting and Sculpture at the Museum of Modern Art from 1958–1965, Selz oversaw many historic exhibitions, including the first major exhibitions of Rothko, Dubuffet, Rodin, Art Nouveau, etc.

DRAWING AND ITS DOUBLE: Selections from the Instituto Nazionale per la Grafica

An engraver’s plate synthesizes image, mark, and idea into one matrix. You can think of it as a kind of drawing that is more visceral and direct, aspiring to sculpture, as a needle extends the hand’s gesture or sometimes, in the case of aquatints, as acid is used to brand the image.

CONRAD MARCA-RELLI
City to Town

When de Chirico declared in 1919 that “symbols of superior reality are to be seen in geometric forms,” it was meant to repudiate the formal restrictions that were set to accommodate innovative trajectories of the Cubist, Futurist, and Constructivist artists.

Alchemy & Inquiry

In his 1902 treatise, A General Theory of Magic, Marcel Mauss observed that magicians of every kind have always worked in the wilderness, away from their society. Although the Bronx isn’t exactly the hinterlands, it feels removed from the bustle of SoHo or Chelsea.

DARK COSMOPOLITISM: A Scandinavian Sampler
North by New York: New Nordic Art

The curators of the exhibition North by New York: New Nordic Art (April 14 – August 19, 2011) have been faced with the problem of how to organize an exhibition around regional identity in the age of globalism?

SHAHRAM KARIMI The Rose of Remembrance

The first thing one notices about this exhibit is the pervasive sentiment of haunted memory and the ways in which images compel us to bring forth our own poetic imagination in order to fully grasp his pure poetry translated into visual form.

Painted Places and Patronage

Before I begin my remarks I’d like to quote from a book by J. C. Cela. The book is called Travels to the Alcaria and it recounts a trip that he took in the early ’50s, traveling on foot through the provinces of central Spain—northeast of Madrid.

ADVERTISEMENTS
close

JUNE 2011

All Issues