Lee Ann Norman speaks with Adriana Varejão about her career, artistic influences, and her relationship to the azulejo.
Though a small selection of works, In the Paint aptly demonstrates the foundation for Hendrickss explorations of aesthetic sensibility and racial identity that would predominate his decades-long career.
From classifying sidewalk stains to the story of a beachcomber finding a bottled message at sea, Ga focuses our attention on the ambiguity and indeterminacy of exploration, and the human desire to rationalize and order the world.
In his final days, post-impressionist artist Paul Gauguin undertook one last significant endeavor: to reflect on his life through personal journals, to be published only after his death.
Made as the AIDS crisis in the United States was at its peak, the photostats—a series of fixed works with white serif text on black fields that are framed behind glass—reflect the contradictions inherent within human beings; a timeless social commentary on the difficult and ongoing work that lies ahead to create a more just world.
A 22-panel accordion book, images of fragmented bodies and reframed scenes ground then disorient us in a past that is elusive yet somehow familiar and within reach. The title references a song by the 1960s girl group the Ronettes, and continues the artists exploration of loss, loneliness, theatricality, and queer melancholy.
In their debut collection of poems, Pinoy writer and visual artist Aldrin Valdez conjures a constellation of identity through the remnants. Memories, photographs, letters, transcriptions, artworks, and pop culture references cleave to reconcile the joy and trauma inherent in a duplicitous, multi-hyphenate world.