From our friends at Canadian Art, today we bring you a feature on the Toronto-based artist Lorna Mills. Author Simon Lewsen (@SimonLewsen) notes, “The intensity of Mills’ art is rooted not just in the proliferation of images but also in their strange choreography.” This article was originally published on July 1, 2015. In the fall of 2014, Lorna Mills, the Toronto-based net artist, was exhibiting[…..]
The very idea that the plastic arts could provide a surface for human expression stands on the belief that an artist’s physical actions include elements both conscious and unconscious, and therefore expressive. On a paper or canvas, or in any matter able to preserve a human trace, the psychic interior of a person could be made visible through marks animated by thought and spirit and[…..]
The majesty of our planet—its sublime beauty, biological diversity, and ability to instigate powerful modes of metaphysical reflection within its human inhabitants—remains a constant motif in the history of Western art. The paintings of Claude Lorrain, Rembrandt, Caspar David Friedrich, and George Inness are enduring reminders of the aesthetic richness of the genre. The sensual pleasures that the natural world incites and the darker forces[…..]
Though failure has an unfavorable definition, interpretations of the word fluctuate dramatically between negative and positive connotations, depending on whom you ask. While some people may consider failure as something to avoid at all costs, others recognize—and even welcome—the possibilities that arise when something does not go exactly as planned. The seventeen artists in I Dropped the Lemon Tart at Lisa Cooley examine the many[…..]
Now on view at Hammer Museum, Mary Reid Kelley’s videos are a collision of drawing, performance, and wordplay that clatter against Greek mythology to produce a visually spare, lexically rich cycle. Working with videographer Patrick Kelley, the artist has produced three black-and-white videos that follow the story of the half-woman, half-bull Minotaur, her lust-crazed mother Pasiphae, and her helpless sister Ariadne through boldly drawn landscapes.[…..]
#imperialism #appropriation #representation #environment #postcolonialism #revolution Throughout the 56th Venice Biennale, one finds national pavilions that have taken up the postcolonial mantle of Okwui Enwezor’s central exhibition within the contours of their own relationships to imperialist histories. Among the most successful of these are Vincent Meessen’s Belgian pavilion, Personne et les Autres, and Fiona Hall’s Australian pavilion, Wrong Way Time. Both pavilions consider how the[…..]
Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Sienna Freeman reviews Science in Surrealism at Gallery Wendi Norris in San Francisco. Gallery Wendi Norris’ current exhibition, Science in Surrealism, showcases 20 historic works from[…..]
