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Many of you will know that I’ve been critical of the conventional art review and how it doesn’t appear well suited to a lot of art that is produced today. So, in the interest of trying new art review forms, I’ve given a shot at using the graphic novel format for my review of Celso’s ¡No Habla Español! at Pandemic Gallery in Williamsburg.
His graphic sensibility seemed a perfect fit for this style. I couldn’t resist producing a short review of the show in this pop culture-friendly form.
I admit I enjoyed creating this so you will probably see others pop up on future posts. Click the images below to enlarge the panels.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.