Somehow, the images always seem to be the same, and yet never really are. The scene might be set in Paris, or perhaps in a bucolic and now forgotten port town. People are often absent, but when present, are stylized and rendered as beautiful impossibilities. The rosy glow of Impressionism tinges everything, but what is pictured extends far beyond the rote beauty of the sun’s shifting rays. Georges-Pierre Seurat painted pointillist fantasies in which the sun is always setting, the remaining light of the day filtered not though dust but through stippled, composited specks of unmixed color. Continue reading…
by Collin Sundt
by Lee Ann Norman
Thelma Golden, Director of Exhibitions and Chief Curator at the Studio Museum in Harlem, famously added a new word to the art-historical lexicon by declaring, in her essay for “Freestyle,” the landmark 2001 exhibition of emerging Black artists, that “post-black” was the new black. A number of artists from “Freestyle” have gone on to enjoy solid artistic careers, including Rico Gaston and Sanford Biggers, both of whom were recently the subject of survey shows in New York.
by Sara Christoph
Brooklyn-based sculptor Michelle Lopez leaves no surface untouched: she abuses them all. Her materials, which have ranged from tree trunks to wrecked car seats to robotic limbs, are prolifically scarred, usually wilting, buckling or drooping under the stress. For her second show at Simon Preston, Lopez has taken to an airbrushed aesthetic, even if only to let it crumple before our eyes.