April/May 2013
Portia Zvavahera – interview: ‘It’s like I’m speaking with the souls of people, with individuals’
Elizabeth Fritsch: Otherworldly Vessels
Resistance
Shu Lea Cheang and Dondon Hounwn – interview: ‘Hagay Dreaming continually evolves and pushes forward through performance’
Alison Watt – interview: ‘I have spent my whole life working from life, so to work from death was a different experience’
Sagarika Sundaram – interview: ‘When I finish a work, it feels very much like skin’
Mary Cassatt between Paris & New York: The Making of a Transatlantic Legacy – book review
Somaya Critchlow: The Chamber
Vanessa Bell
Click on the pictures below to enlarge
Art Bin: Landyfill Since emerging from Goldsmiths at the beginning of the last major recession, Michael Landy has pursued particular themes across a sequence of big projects.
In the darkest hour, there may be light: Works from Damien Hirst's murderme collection A range of symbols spring to mind when thinking about death: the hooded figure wielding a sickle, the faceless boatman ferrying the souls of the dead across the River Styx, the watery existence ascribed to the souls in Hades' underworld and Purgatory - the quintessential departure lounge where Christian souls gather waiting to pass into eternal bliss.
Dan Flavin Dan Flavin's work is exemplary. Of what? Yet, he preferred to call his works simply 'proposals', rather than sculptures.
Matthew Barney: Drawing Restraint When we speak of executing something - an article, a work of art, a musical composition - we speak of working towards some kind of resolution, of there being a sequence of events causally related and moving forward in time. Sometimes the end product, in the case of art, will stand on its own without a trace of what went before, as if all moments working up to that point have been washed clean, leaving the work immaculate, but in a way, lifeless.
Abstract America: New Painting and Sculpture In his seminal essay