Caught below in Jason’s IG feed.
Artforum says Ida’s new paintings (in her show “Slice of the Inaccessible”) possess a gluttonous appetite for visual culture, and have an arresting effect on the viewer.
BOMB Magazine has been publishing conversations between artists of all disciplines since 1981- read on to learn about Jordan’s diasporic landscapes (which are abstractions if not abstraction).
Artforum notes that Erik’s …”incorporation of anonymous found surfaces as compositional elements in painting has occupied a central place in his work…” and that “… Lindman states, his practice and methods are the most efficient means he has discovered to create a space of reflection and contemplation for viewers to generate their own meanings.“
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…”
In Caroline one-person exhibition at Fondazione Giuliani, watercolor, ceramic, bamboo, and wool are the protagonists of a narrative that seems to emerge from the viscera of creative expression. The French-born artist’s works take possession of the gallery space like three-dimensional biomorphic entities, even when simply hung on the walls like paintings.
In the months just prior to Covid-19 rearing its monstrous head in the United States, artist Jamison Carter lost both of his parents. Such a tragedy, combined with the horrors and isolation brought on by the pandemic, would crush even the most stalwart of souls. Yet Carter miraculously managed to find the wherewithal to produce “All Season Radials,” his majestic solo exhibition at Klowden Mann.
taps the Earth for her materials and muses. Her works—prints, works on paper, paintings on bark, and larrakitj (memorial poles made from the bark of eucalyptus trees)—are often made with natural ochers that coalesce in spontaneous webs of lines and dots. The resulting works are ethereal, expressive interpretations of water.