Please check your email to reset your password
Stories of this month
The messages, conveyed through countless symbols in their artworks, perhaps voice their concerns with their country and reflect their hopes for the better future. We always have rights to hope for the better tomorrow.
by Eric Yoon
"Phillips’ show, What You Do When You Don’t Go Outside, at Harper’s Apartment follows a similar “fact vs. fiction” theme, with artworks like Sex Part of Exhibition From a Photo Taken of Me and Cristine (2019), depicting him and his wife mid-sex act. The painting is quite obviously based off of the artist’s real life, but if there were any doubt, Phillips helpfully underscores its meaning with his informative title. Fiction comes into play equally in other works, as in Horror Part of the Exhibition (2019), consisting of a shadowy masked figure holding a large knife, standing at the top of a staircase staring down at the viewer menacingly-- a stock scene from many American horror movies. The artist seamlessly combines his two skill sets of writing and painting in The Greatest Art is to Endure (2019), a painting of a note tacked to a wall with the same poetic, hopeful inscription as the work’s title."
by Nina Blumberg
There was once a time as the stories of women were not even part of the art history. The reason for this long history of rejection was not due to the lack of quality and value of women’s works but due to the deficiency of equality in opportunity. For Virginia Woolf, owning her room means having a fair opportunity to start writing like her fellow male writers. As we can infer from a title of her book, A Room of One’s Own, Woolf believed that women can only become independent beings as they become physically and financially free from men. As she wrote in the book, women are as equally adventurous, imaginative, and even capable for anything as men.
by Amy Gahyun Lee
"Indian Modern Art is definitely an undiscovered area with many potentials to be developed and Robin Roche, who just joined the gallery (DAG) last year as the Senior vice president already foresaw this growth potential and believes that Indian modern art should be rediscovered in the art world and reappraised. It is a short interview with Robin Roche."
by Arjun Sahgal
The New York Historical Society’s exhibitions Black Citizenship in the Age of Jim Crow (September 7, 2018 - March 3, 2019) and Betye Saar: Keepin’ It Clean (on view through May 27, 2019) were in active conversation with each other when viewed together. When I went to see these exhibitions on a cold Friday evening in January, I expected to see works from Saar’s washboard series and to learn more about a dark period in US history. What I left with instead was an even deeper appreciation for Saar and for the many brave women and men that came before her to make her work possible.
by Alexandria Deters
"Esplund said that when we encounter art objects (whether paintings, sculptures, totems, masks, crucifixes, or contemporary assemblages), we should approach each artwork with childlike curiosity; that we should treat each work of art as a functional object that has something important to communicate; that we should engage with it as we would in a “one-on-one” encounter with a living thing. “Yes,” Esplund said, “great art speaks to you at the highest level; but it also speaks to you at the entry level, too. That’s what makes it a great work of art. It draws you in at every level, no matter where or how you come to it. Unless you’re totally shutting down to it, art has the power to draw you in.”"
by Angie Phrasavath