From European detective dramas to art documentaries, Yau reflects on some highlights from a year inside.
Serge Poliakoff: Gouaches 1938-1969 furthers the case for Poliakoff’s importance and continuing relevance to abstract painting.
One thing seems pretty clear about both groups: they separated themselves from mainstream culture, including the art world. This is practically unheard of today.
In her art, Goodman seems to both revisit trauma and heal it. The results are moving and painful.
In his debut novel, Tom Lin underscores the invisibility of the Chinese to white Americans in late 19th-century United States.
Monica Ong is a 21st-century visual poet who extends the reader’s sense of what is possible.
Joshua Marsh has fashioned a world where a sweet, wise humor in the face of mortality and inescapable change prevails.
Yuri Yuan’s sense of isolation is an inescapable feature of her daily life, which she simultaneously examines and holds at bay through the act of painting.
Maybe a sense of belonging is a thing of the past, a sign of privilege.
It seems to me that Soutine’s complete lack of interest in the cubists’ desire for order was exactly what appealed to de Kooning.
After finding success in England, Forge walked away from everything he knew how to do and started over.
Paint’s materiality has a capacity to release meaning into the work, to underscore our vulnerable bodily presence in the world and time.