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From the Room 11 Series
From the Room 11 Series
April 30, 2018
Issue 15, Issue 15 Art, Studio
All posts tagged: Art
Home Invasion
April 30, 2018
Issue 15, Issue 15 Art, Studio
Images by MARTHA ROSLER
Introduction by DARSIE ALEXANDER
Series of Thought
November 3, 2017
Issue 14, Issue 14 Art, Studio
Images by Michael Mazur and Betsey Garand
Three weeks ago, I had an intimate and frenzied encounter with a wild bobcat as it was chasing my chickens. We locked eyes for a moment, and I quickly glanced down at its large, impressive paws. Tawny, speckled fur contrasted starkly with razor-sharp black claws. It ran off to the edge of the woods, first stopping to glance back at me before disappearing into the thicket. I began to think of a series of intaglio prints that would capture the essence of this feral fury.
The Radical Familiar: Matisse’s Early Nice Interiors
April 25, 2017
Essays, Issue 13, Issue 13 Art, Issue 13 Essays
The paintings may be best known for what they are not. They were made on the heels of work now considered Matisse’s most groundbreaking, the paintings from the period between 1907 and 1917 when he engaged with the early perceptions of modernism. His trajectory through these years widened his ambitions and shows him becoming more cutthroat within them, first leaving behind the saturated exuberance of fauvism, then, by degrees, flattening color and form into strange and austere near-abstractions.
Under Current: Tidal Pull
April 15, 2017
Issue 13, Issue 13 Art, Studio
Where do your shapes come from? This is a common question I encounter.
I dislodge shapes stored in my body through the act of drawing. These shapes originate from a vast matrix of experiences. There are typically three categories of overt reference: art and archeological objects I seek out through research and travel; landscape; and direct physical experiences (floating on a lake, running in the woods, dance, aging, sex).
Rico Gatson: Selections
November 1, 2016
Issue 12, Issue 12 Art, Studio
By RICO GATSON
Introduction by David E. Little
What was required was a new story, a new history told through the lens of our struggle.
—Ta-Nehisi Coates
They say there’s nothing harder than hitting a fastball. In America, clichés on the difficulty of sports abound. But how to describe the challenges of art?
Millennium Camera
November 1, 2015
Issue 10, Issue 10 Art, Issues, Studio
Jonathon Keats has been described by The New Yorker as a “poet of ideas.” Keats’s latest project is the Millennium Camera, a custom-built pinhole camera with a one-thousand-year exposure time that will remain inside Amherst College’s Stearns Steeple until 3015. In May 2015, the college’s Mead Art Museum documented the intellectual and material creation of Keats’s camera, displaying its blueprints and predecessors alongside the camera itself in an exhibition titled Jonathon Keats: Photographing Deep Time. To commemorate the opening of the exhibition, Keats spoke with Vanja Malloy, the Mead’s curator of American art, about deep-time photography and about the rapidly changing nature of humanity’s relationships with its environment and its descendants. This essay has been adapted from that conversation.
The Story Behind the Scenes
November 1, 2015
Issue 10, Issue 10 Art, Studio
By MORGAN ADAMS
I
I take the number 25 bus from Piazza San Marco north into the hills and get off at La Pietra—a stone marking one Roman mile from Florence. Behind the imposing gate, Villa La Pietra waits at the top of the long drive lined with Tuscan cypress trees.[1]This fifteenth-century villa is the centerpiece of a fifty-seven-acre estate of Renaissance-revival gardens,a vast art collection, a library of over twelve thousand volumes, and olive groves with views of the Duomo.
Three Poems
October 29, 2015
Issue 10, Issue 10 Art
By MAZEN KERBAJ
TO THE READER
SPACE-TIME
COLD SWEAT
Mazen Kerbaj is a Lebanese comics artist, visual artist, and musician born in Beirut in 1975. Kerbaj has authored more than fifteen books. His work has been published in anthologies, newspapers, and magazines, and translated into more than ten languages. His paintings, drawings, videos, performances, and installations have been shown around the globe.
The Dictator’s Bedroom
April 1, 2015
Issue 09, Issue 09 Art
“The bunker was the reality of totalitarianism, its hideous remnant and reminder. The beheaded, violated, mutilated ghosts of Nicaragua bore witness, every day, to what used to happen here, and must never happen again.”
—Salman Rushdie, The Jaguar Smile
In the early hours of July 17, 1979, Anastasio Somoza snapped shut the last of his suitcases, preparing to leave. He took one last look at his newspaper; little things like pens, paper clips, and dust lay scattered around the desk, his daily mess. He’d expected this departure for days, yet he was still rushed; he was irritated and scared. In the bunker office, the stiff leather furniture and the leather-covered walls gleamed as the dim ceiling light flickered. Behind him, caught in the somber solitude of that late night of surrender, hung a large relief map of Nicaragua, the country he had “inherited” and ruled, and was now abandoning. The country whose people he had abused, tortured, waged war against. The country that was now aflame at his doorstep.
