Two exhibitions by Patricia Satterlee have bookended the plague year.
Thomas Micchelli
Thomas Micchelli is an artist, writer, and co-editor of Hyperallergic Weekend.
Posted inFilm
SIN, a Gritty and Sublime Biopic of Michelangelo
Andrei Konchalovsky’s film depicts an artist full of ambition, paranoia, loathing, and regret.
Posted inOpinion
Trump’s Last Act
The most incandescent of invectives now feel like simple statements of fact.
Posted inArt
The Year Without Art, 2020
Every individual loss carries the resonance of collective loss, the ripple of disappearance.
Posted inArt
The Bioweapons of Culture War
The hope now is not for this to end well, but simply for it to end.
Posted inArt
Raging in the Pandemic’s Grip
Sanja Latinović’s “Abandoned” pierces our self-protective veil with a glimpse of COVID’s raw truth.
Posted inArt
The Pursuit of Art, 2019
MoMA’s recognition of modernism’s multiverse, alongside artist-led drives for greater transparency on the part of museums and their boards, brought a twinge of optimism to the close of the year.
Posted inArt
Marino Marini’s Scarred Monumentality
Marini’s membership in the Fascist Party is something that will cling to him, despite his self-exile to Switzerland and the anti-imperialist tone of his postwar work.
Posted inArt
Painting on a Knife’s Edge
With ATOMIC, her new body of work, Patricia Satterlee pitches us into abstract apparitions of heaven and hell before pulling us back to earth.
Posted inArt
Drawing as Refuge
Pete Schulte’s drawings at first seem to be easily apprehended and quickly digested, but they demand a deeper reflection on choices and motives.
Posted inBooks
When Trauma Becomes Art
Nancy Princenthal’s Unspeakable Acts delves into the links between violence and silence, art and terror, and how pioneering women made them into art.
Posted inArt
Answering the Colonizers of Modernism
The paintings of Kenyan artist Michael Armitage present a particularly resonant response to the expanded, repackaged, and redefined offerings at the reopened MoMA.