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The German-born artist Vera Lutter is known for her ghostly, immersive camera-obscura photographs made in pinhole cameras that are sometimes the size of small rooms. Rather than printing positive images from a negative, she keeps the tonal values reversed, so that a bright daytime sky is impenetrably black, and solid structures appear to glow.
On the top floor of Hauser & Wirths Chelsea building Takesada Matsutani and his friend Olivier Renaud-Clément stand beside a massive paper scroll, thirteen meters long, that extends from the ceiling to their feet. It is from the early nineties and is covered in graphite that softly reflects the light coming in the gallery windows.
Joan Semmels work activates what painting can do to produce different ways of seeing, and thus different ways of thinking, that shift the position of certain bodies in the social sphere. I get the conversation started by asking Semmel some questions about her earliest work, her experience as an artist, and her turn to painting, before weaving in more complex questions about the relationship of her work to specific experiences shes had in the world.
This conversation for the Brooklyn Rails New Social Environment series brings together several people connected to the recent exhibition of drawings by the self-taught artist Joseph Yoakum at the Museum of Modern Art. The exhibition represents a landmark in contemporary efforts to bring to a wider public the work of this remarkable American artist.
Nina Mdivani speaks to those recently displaced by the invasion of Ukraine.