Posting about Rosie recently made me realize that I should look into the quilting “movement” from Gee’s Bend. This article has some more context on the medium’s recent impacts.
#anniemayyoung
(also, and, for those interested in movements in material art here’s the post I did on the women of Bauhaus)
Hyperallergic notes about Joan’s newest “ …few artists unlock black’s buzzing potential better than Joan…” (I also think of Pierre when I contemplate the use of the chroma black).
#joanwitek
I first encountered Irene’s mathematically-inspired work when looking at a write up about Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present on view now at South Bend Museum of Art (which also includes Alice and Esphyr).
#irenerousseau
Artforum notes an online solo exhibition at White Cube of recent jute sack paintings by Ibrahim Mahama. “In these works, Mahama continues his interrogation of the principle that by engaging with the failures of the past it is possible to ignite new value systems for the future. By so doing, there is the potential to engender economic change that would lead to labor reforms. Produced in his native Ghana with the help of “collaborators,” the jute sacks from which the paintings are created point to histories of trade and commerce and the personal stories of their handlers…”
#ibrahimmahama
says about his newest which Artforum notes that “these paintings have been made through a pandemic, through a civil unrest in my country, and now through fires ablaze all around me. The title “Nobody’s Baby” eludes to a longing for guidance, and a need for stablity and intimacy…”
#austynweiner
I first encountered Edwin’s work through Prosaic (which you should be following on IG if you aren’t). Looks like he’s a Beep Prize winner.
#edwinaitken
shows at Vielmeter in LA along with Amy. I’ve been enjoying the works on paper from his IG feed of late.
#nickaguayo
Painting After Art is Dead 