MaryAnne Stevens– Spring in Jølster presents a view of the Norwegian artist Nikolai Astrup’s farm-garden at Sandalstrand (now Astruptunet) in Western Norway. It epitomizes his life and his art, referencing his personal expression of European modernism, horticultural ambitions, and commitment to conservation and the expression of national identity. Nikolai Astrup
Monica Bravo– After a long period of staying at home, social distancing, and masking up, we are told—at last—that the world is opening up. Breathing a collective sigh of relief (one that still does not extend to every community worldwide, I hasten to add), many are rushing to once again
Lucy Bradnock— Instances of feminist artists citing Artaud are curious and not a little confusing. The French poet and dramaturg died in 1948, leaving behind a legacy that was both bound up in historical modernism and dogged by accusations of misogyny. Neither would seem to align him with second wave
In the introduction to Locating Sol LeWitt, editor David Areford advocates for a “plural LeWitt,” that is, a more expansive view of the artist and his practice, one that fully embraces the multiple mediums he pursued and the sometimes difficult and contradictory aspects of his conceptual art. In this spirit, the
In the introduction to Locating Sol LeWitt, editor David Areford advocates for a “plural LeWitt,” that is, a more expansive view of the artist and his practice, one that fully embraces the multiple mediums he pursued and the sometimes difficult and contradictory aspects of his conceptual art. In this spirit, the
David S. Areford— Sol LeWitt. For the dedicated or even occasional museum visitor, the artist’s name conjures up expansive and colorful murals (his “wall drawings”) and equally commanding, large-scale cubic sculptures (his “structures”). Often installed in grand public interior or exterior settings, these artworks collaborate with the architectural and spatial
Michael Peppiatt— Even if Paris lost its prominence as the art centre of the world around the mid-twentieth century (with existentialism waning and Abstract Expressionism on the rise), everything in the French capital operated as if nothing had changed a decade later when I began writing gallery ‘round-ups’ for various
The art history I write and teach is stuck in the mid-century modern period across much of the globe–roughly 1945-1970–because those years saw the end of a “modern” way of thinking and the start of a contemporary, or some would still say “postmodern,” outlook. I want to go back and
Matthew Affron– Marcel Duchamp had a large role in his own enshrinement at the Philadelphia Museum of Art. He helped the Los Angeles collectors Walter and Louise Arensberg to form their outstanding holdings of modern art, including the largest, most
Interview with Bronx Museum curator Antonio Sergio Bessa By David Ebony In recent years, I have been periodically spending time away from the city, in a rural area in upstate New York. It’s a pleasure to be closer to nature after many years as a city dweller. Gardening is a