Fiction
The Right Thing
Contributor
Bishakh SomBishakh Som’s work has appeared in Hi-horse, Blurred Vision, Pood, Specs and the acclaimed Graphic Canon series. He received the Xeric grant in 2003 to publish his first collection, Angel. His watercolor paintings have been shown at the Bannister Gallery at Rhode Island College and at Animal Magic, a solo show at ArtLexis Gallery in Brooklyn.
RECOMMENDED ARTICLES
Gerhard Richter: Painting After All
By Jessica HolmesMAY 2020 | ArtSeen
If someone had asked me six weeks ago to write a review of an exhibition I couldn’t physically go to see, I would have said no. Well, that was six weeks ago. On March 4th, the Met Breuer opened Gerhard Richter: Painting After All, a major show of work by one of the most celebrated artists of the late‐20th and 21st centuries.
Downtown Painting
By Jonathan GoodmanJUL-AUG 2019 | ArtSeen
As I write, the nonagenarian artist Alex Katz, long a mainstay of downtown painting, is involved into two major shows: the one he has curated at Peter Freeman’s gallery and the other is an extraordinary show of recent work at Gavin Brown’s Enterprise in Harlem. The first exhibition establishes him, very quickly, as a curator of repute, while the second makes it clear that Katz is moving into a territory wholly his own, particularly in the wonderful scenic studies that pass on, completely successfully, his love of nature.
Radical Figures: Painting in the New Millennium
By Fraser BroughMAR 2020 | ArtSeen
Here, bodies luxuriate, gorge, writhe, and eat themselves, squirting, smoking, kissing, suffering, even sculpting their own dismembered legs. The great plethora of bodily experience is imagined in all of its infinities, the expressive potential of the human figure as boundless as the ways of painting it.
The Hypothesis of the Stolen Painting
By Dalia NeisMAY 2019 | Critics Page
In 1978, the Chilean filmmaker/writer, Raúl Ruiz, was commissioned by French television to make a documentary on the painter/writer, Pierre Klossowski. Over the course of its production, Ruiz abandoned this documentary to make The Hypothesis of the Stolen Painting—a feature-length film which smuggled Klossowski’s theories of art into a neo-baroque portrait of an imaginary nineteenth-century artist, Fredéric Tonnerre, whose exhibition of a series of seven paintings caused a major yet mysterious scandal in the Parisian court.
