Stay tuned for our forthcoming new releases with Farah Atassi
In this interview, Lamelas discusses the origin of the work, his time working alongside a brilliant group of colleagues in Buenos Aires, and gives a surprisingly humanistic vision of his radical Conceptual art.
Carson’s geometric paintings, inspired by the land of big sky, mimic rolling hills and valleys.
A strained, stretched, widening, loosened metaphor, one that gives lights and receives them, might be the best way to describe Math Bass’ work. Yet metaphor is an easy interpretational mode that relies too heavily on iconography. Morever, description logo-centrically implies that all that is felt can be written or painted, that you actually can describe what bottoming is like to someone who has yet to do it. A simile might be better. In this moment, it seems more capacious. Bass’ work is like a ride on the Long Island Rail Road, winding through a certain kind of world, in which crushed skulls and young love happen simultaneously and often unnoticed, where aspiration and reality meet, where the Piano Man’s jar is filled up with cock-like bread, where hearts are broken and lose their three-dimensionality, only to unflatten at the sight of beautiful arms at work on a floor.
Shot in 1967, Lyon’s photographs offer a more nuanced and human perspective of the destruction of the old lower Manhattan, one that is often paved over by history books.
Judy Chicago continues her long-running Atmospheres series, inviting global audiences to experience newly created Smoke Sculptures™ in Augmented Reality (AR).
Join us for a conversation with Lita Albuquerque. Albuquerque has created an expansive body of work, ranging from sculpture, painting, and multi-media performance to ambitious site-specific ephemeral projects in remote locations around the globe.
Video courtesy Kohn Gallery and the artist.
We're excited to announce a new print with Albuquerque coming out early 2021, stay tuned
Glenn Kaino transforms conventional materials and forms through a process of working that mobilizes the languages, logics and economies of other creative disciplines as raw elements in artistic production. Conceiving his practice as “conceptual kit bashing”—Kaino synthesizes objects, performances and site specific encounters by reconfiguring conditions of cultural spheres, where disparate ideas and materials are forced to make contact.