Anthony Hawley is a multidisciplinary artist and writer. Recent solo projects were presented by CounterCurrent in partnership with the Menil Collection & Aurora Picture Show; Spazju Kreattiv in Malta; and Central Features Contemporary Art in Albuquerque. In 2018, Print the Future will publish Drawings for Donald, a year-long daily drawing project. Along with violinist Rebecca Fischer, he forms one half The Afield, a performance collaboration for violin, video, electronics, and more.
FEB 2018 | ArtSeen
Be they in the air (a balloon), something that houses us on the ground (an encampment or inflatable castle), or something that assists us getting places (a tire, a boat), inflatables make membranes over and on our surfaces. They tent us, cushion us, carry us, soften our ground; they dwell in forms that feel unnaturally soft compared to our hard-edged houses and bring awareness to our own edges.
SEPT 2018 | ArtSeen
What exactly is a mechanism capable of changing itself? A mechanism capable of manufacturing its own metamorphosis? Perhaps it is a mechanism that could change itself, possess chameleonic properties, an ability and willingness to ingest multiple terrains.
MAR 2017 | ArtSeen
Devoid of emotion or inflection, the speaker calls to mind computers and androids such as HAL from Kubrick’s 2001: A Space Odyssey, Blade Runner’s chief replicant Rachel, or even Data from Star Trek: The Next Generation.
OCT 2017 | ArtSeen
In G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg), hard- edged geometries filled with solid colors converge with organic lines to create vaguely figurative forms. While these figures might possess an actual leg, they’re denied the legibility of a human framework by the rest of their “bodies,” which are comprised of airy geometries loosely tethered in a kinetic fashion. In the painting G.S.F.C. #2, the form appears to be almost squatting, or hopping, with knees spread wide. The sharply bent knee in G.S.F.C #5 lends the subject a rather balletic quality, while the geometries of G.S.F.C.
MAY 2016 | ArtSeen
One of the first things greeting viewers in Sarah Bramans stellar show at Mitchell-Innes and Nash is half of a white Toyota Celica. Rear fender kissing the ground, stick-straight antennae at a neat 45-degree angle, half a white car points skyward, ready for launch.
NOV 2016 | ArtSeen
About four minutes into Camille Henrot’s short film Grosse Fatigue (2013), a small popup computer window hovers over others in the center of the screen.
SEPT 2018 | ArtSeen
It’s good to be reminded of our own impermanence. Even better when it’s done with grace and sorcery. The term “hot mess” has that effect, calling to mind the fact that we can be at once ravishingly beautiful and totally disheveled.
NOV 2018 | ArtSeen
Few canvases contain so much quiet dazed-out playful drift with such attention to minutia.
MAY 2017 | ArtSeen
Midway through Jimmie Durham’s current retrospective at The Hammer Museum, a 1992 sculpture titled The Guardian (free tickets) offers the following advice to viewers: “May I suggest that we imagine systems in opposition to any concept of opposites?”
APR 2016 | ArtSeen
Here is the scene: in the middle of the space, a giant, untouched Persian rug. Hexagonal patterns in maroons, reds, and blacks across the carpet’s surface area.
JUNE 2016 | ArtSeen
In 2016 we’re trying to make sense of our monuments. Broken monuments, unfaithful monuments.
SEPT 2015 | ArtSeen
Each of the seven paintings in Ruth Root’s most recent show consists of two conjoined parts: 1) a larger angular geometric piece of Plexiglas covered with patterns executed in spray paint and enamel; and 2) a smaller, albeit still sizeable, fabric component also covered with patterns, this time printed digitally onto the fabric.