Jeremy Couillard’s list of finalists for each category of the 2022 IGF Awards.
Editors’ Picks: 9 Events for Your Art Calendar This Week, From Etel Adnan’s Final Paintings to Surrealist Art From Beyond Europe
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As the city reopened, the art world saw legacy-changing donations for the Met and the Brooklyn Museum, and a seismic shift in Tribeca’s gallery scene.
Michael Mandiberg’s Timeframe exhibition gives the viewer a window into a period of time when they had to deal with the breakdown of their own body.
Sean Fader’s photographs for Insufficient Memory (2020) require understanding that he used a Sony Digital Mavica to memorialize the locations where LGBTQ-identifying people were murdered between 1999 and 2000 while US Congress was debating the Hate Crimes Prevention Act.
Amanda Valdez’s new works here—abstract canvases that incorporate paint, embroidery, sourced fabrics, and handwoven or hand-dyed textiles—recall the coastal sea stacks in the Pacific Northwest, where the artist grew up.
Interested in some practical advice on asking for art prices? This conversation with gallerist Elizabeth Denny, sheds light on how to get a sense if an artist is in your price range, what to say in an inquiry email to a gallery, and how galleries give you the space you need to make a decision to buy.
Ann Shelton, A Spoonful of Sugar first reprint.
Jeremy interviewed, “There is a place in your head where a thought slowly morphs into a real thing…”
Jeremy’s Alien Afterlife: Let’s Play 2056, and JEF_Stream in CYFEST-13.
Published to coincide with the artist’s solo exhibition by the same name, Michael Mandiberg: Timeframe reviews two new bodies of work – Zoom Paintings and Live Study. The catalog includes essays by Christiane Paul, Curator of New Media Art at the Whitney Museum of American Art; danilo machado, poet and curator; and Michael Mandiberg. 10 x 7 inches/25 x 18 cm 102 pages Softcover Language: English Read the catalog online Visit exhibition website, Timeframe.
“I don’t really believe in didacticism in art—I think that’s horrible,” she says. What she seeks out instead are ways to intrigue and provoke, which in her case often begin with imagery related to food… “They are kind of hypnotic—I made these porcelain and gold leaf cake stands for each one.”
The Zoom Paintings is presented on the occasion of Michael Mandiverg’s IRL exhibition Timeframe from November 5th to December 23rd, 2021. One painting on view each day, for a total of thirty-two paintings.
Michael Mandiberg presents two ongoing bodies of work related to themes of memory, illness, and building relationships through work and learning.
Council often uses humor as a political tool to expose systems of power and inequality in a society in which even death carries a high price tag.
Dana Sherwood’s strange feminist fantasias, drawings and paintings of naked women posed, along with idyllic living-room sets, in the bellies of enormous animals [deserve mention].
Camp is commonly seen as the love of irony and artifice, a theatrical devotion to what the mainstream considers ugly and/or garish and gaudy. But in its original and Blackest manifestation, Camp is a way of looking, one that shifts whose gaze has power as well as who can be at the center of the political project we call beauty.
Coordinated by the Los Angeles County Arts Commission and installed at the Los Angeles Department of Mental Health Services is Amir H. Fallah’s stained glass installation in collaboration with Judson Studios.
‘Life is really weird and nobody knows what’s going on. One big thing that drives my work is how we all do things that nobody wants to do—nobody wants to go to war, and nobody wants to have a job—but we do them anyway. It’s weird and stupid but it’s human,’ [Couillard] said.
As Soleimani’s work looks outward at the global petroleum industry or political corruption in the United States and Iran, it also encourages viewers to turn inward, confronting the assumptions and blind spots that they bring to her images. I spoke with Soleimani about putting evaders of justice in the aesthetic hot seat, making activist art outside of the sentimentalizing traditions of the genre, and rehabilitating wild birds.
At Denny Dimin Gallery, the multidisciplinary artist Pamela Council told me that the work in their new solo exhibition—the first since signing on with the dealer—was “dark, maybe the darkest I’ve done.”
Stephen Thorpe: Some might say, if it ain’t broken, why bother to fix it?
Fine art photographer and trained bird and wildlife rehabber Sheida Soleimani voiced objections to an opening event at Jeffrey Deitch Los Angeles, which incorporated the release of live birds.
