whose work investigates the ways in which material is transmitted, utilized, and preserved, is one one of many artists included in Painting Deconstructed (some of whom you’ve read about here- Rachel, Mark and Yevgeniya to name a few) at Ortega y Gasset.
#scottvanderveen
Michael at Hyperallergic reminds us Lawrence showed in nine Whitney biennials, and was a lover to Beauford Delaney, and his legacy is yet to be fully explored.
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#lawrencecalcagno
Generative relationships between luminous color and ephemeral form propel Lindsay Packer’s site-responsive work in performance, installation, film and video, photography and streaming media. She plays with the call and response of color and light, form and site, engaging an analog/digital continuum of shifting chroma and temporary geometries in which color and form are inseparable. She’s included in Bluets and Blue along with Erika and others.
#lindsaypacker
took a turn earlier this year in his ceramics practice (which is normally vessels) to present Now is Nowhere Else at Gerald Peters. The intentional development of a process that merged chance and choice caught my interest, and I love his thesis that “the strength of the total sum of the bricks depends solely on the richness and individualism of each single unit.”
#danieljohnston
is one of the artists included in Intersectional Voices, the current exhibit at Greenville Tiger Strikes Asteroid. Clare is a weaver and artist whose practice examines personal and familial experience within the broader framework of myths and narratives that make up the American South.
#clarehu
This isn’t going to become a lesson in epistemology, I’m not that smart or well read.
Today, I caught an excerpt of a Sam Gilliam (RIP) interview that Hyperallergic reposted on their IG feed (youtube.com/watch). The full interview is available on Louisiana Channel (along with a lot of other good ones by a range of artists). The truth nuggets, paraphrased, are that a) abstract painting can be political because it asserts by its existence that there are things which we might not understand and that b) just recognizing something isn’t tantamount to understanding.
I also really got a lot from an Artforum interview with Jordan Nasser (FYI, there may be a pay wall, depending on how many free articles you’ve viewed this month) about the contradictions (hey-oh) of diasporic identity, the nuances of his relation to traditional craftmaking, and the role of artists in continuing cultural legacies. There’s an effort in Nassar’s practice to create understanding as well, I think of a similar kind to what Sam probably envisioned. I think they both refer not to “understanding” the noun which is the ability to perceive intended meaning in a specific way (so, decipher or interpret); instead they intend us to think about understanding the adjective– “sympathetically aware of other people’s feelings; tolerant.”
BTW, “yes” I do definitively think it is important right now for many more of us to make an effort to understand the lived reality of the peoples of the Palestinian state, not just over the last 6 months, and, certainly because of that context (and in general, to reconsider the tenants of Modernism and the idea of shared humanity).
PS, if you want to expand your understanding of other cultures by doing something here, locally, in the Triangle, go check out To Take Shape and Meaning.
Adam at Two Coats sits down with Larry to talk about why he restarted his practice (in the context of some recent success of the same). A good read and yes, I like backstory.
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#larrygreenberg
Final post about 2024 Artfields artists*.
Cristina works with remnants of previous textile projects as well as materials donated by local makers in Charleston, and expands her study of the cane weaving pattern into a large-scale installation. Her relationship to cane weaving is one of nostalgia rooted in her memory of my elders, their homes and communing spaces.
*see also Brent, Kristy, Kai, Natalie, Ian, Amberly, Margaret and Emiko
#cristinavictor
Saw below at Artfields. Margaret’s textile background was a significant driver that fed her interest in regenerative design-thinking systems, now called the circular economy; influencing her eventual pursuit of a Masters in Sustainability from Wake Forest University in 2016. She hopes to find a visual intersection for expressing her passion for painting and environmental concerns.
#margaretfleemanstudio
Similar to Ian, Eniko was featured in the most recent Artfields and also makes work that references trees. For the installation below they took ceramic slabs and make prints of individual endangered longleaf pine needle trees from an area near Pensacola that is under development. The title references “L’Inconnue de la Seine” and the tradition of a death mask as a memento of the deceased.
#enikoujj
Natalie Dunham is a process-based artist who creates
3-dimensional material studies primarily composed of basic geometric shapes and lines. Her practice employs a strategy of overlapping, accumulating, and juxtaposing simple materials to produce solid and complex forms.
Her hope is to challenge viewers to pause and appreciate the transformative powers of the creative process and to call attention to the essentially ordinary origins of even the most extraordinary works of art. I saw below at Artfields.
#nataliedunham
Continuing with my favs from Artfields…
About this installation, Ian says “Crosscut (Log-pile), is a reflection on one of the most quietly obvious signs of human incursion in the natural world: a crosscut tree stump. By utilizing brightly colored handmade paper and neon gel pens to produce the drawings, I am drawing attention to the artificial and unnatural state of the remnant of an individual tree. All images are sourced from either on-site observations and photographs, or from cross-sections of trees recovered after a large culling of forested areas throughout the Lowcountry of South Carolina; the paper itself is mostly from the same species of trees depicted in the drawings.”
#ianwelch
Painting After Art is Dead 