She has taken clay and used it to recall its ancestral roots in Pueblo culture and address the present history of postcolonial recovery and ongoing trauma.
John Yau
John Yau has published books of poetry, fiction, and criticism. His latest poetry publications include a book of poems, Further Adventures in Monochrome (Copper Canyon Press, 2012), and the chapbook, Egyptian Sonnets (Rain Taxi, 2012). His most recent monographs are Catherine Murphy (Rizzoli, 2016), the first book on the artist, and Richard Artschwager: Into the Desert (Black Dog Publishing, 2015). He has also written monographs on A. R. Penck, Jasper Johns, and Andy Warhol. In 1999, he started Black Square Editions, a small press devoted to poetry, fiction, translation, and criticism. He was the Arts Editor for the Brooklyn Rail (2007–2011) before he began writing regularly for Hyperallergic. He is a Professor of Critical Studies at Mason Gross School of the Arts (Rutgers University).
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Mark Thomas Gibson’s Cartoons See the US Going Nowhere
If Thomas Nast, who is considered the “Father of the American Cartoon,” has an heir, it is Gibson, who goes one step further and elevates caricature and commentary into art.
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Miyoko Ito’s Mysteries and Longings
In Ito’s art we glimpse something we cannot comprehend. A sense of longing and mystery, isolation and solitude fill the paintings.
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Raging Against the Dying of the Light
Jake Berthot’s paintings are haunted by an awareness of mortality and, beyond that, a feeling that no light awaits in the darkness.
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My Travels in the Land of Winkfield
Trevor Winkfield’s modestly scaled acrylic paintings abound in puzzling, private symbols.
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Brenda Goodman, Scars and All
The paradoxical combination of freedom and entrapment animates Goodman’s composition in her latest body of work.
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The Gap Between Things and Their Names
A deep sense of loss, of being cut off or isolated from communication, runs through Elsa Gramcko’s works, imbuing them with inchoate feelings that precede language.
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Judy Ledgerwood’s Playfully Subversive Patterns
What distinguishes Ledgerwood’s work from the earlier generation of women artists working in the domain of Pattern and Decoration is its bluntness and humor.
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History Is Not an Open Book
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
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Traditional Korean Painting for Modern Times
In Seongmin Ahn’s paintings, it is not our past we are looking at but our possible future.
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Seeing Ourselves in Greg Colson’s Quirky Pie Chart Paintings
The artist’s droll paintings present the pie chart as a useful monitor of a group’s behavior, while also revealing it to be exclusionary and superficial.
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Abstract Art Did Not Begin With Paul Cézanne
Odili Donald Odita challenges the long-held belief that abstract art is a purely Western tradition.
