There isn’t enough discussion about the institutional structures that led to the exclusion of underrepresented artists from art history in the first place.
Etel Adnan
Posted inArt
Etel Adnan Reflects on Aging With Gentle Hues
A sense of longing pervades Seasons, which opened at Galerie Lelong just as New York City reached peak autumn foliage.
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Etel Adnan and Lynn Marie Kirby’s Poetic (and Funny) Email Exchanges
Here’s a sneak peek of Oracular Transmissions, a new book collecting three collaborations between these two artists.
Posted inBooks
Etel Adnan, the Eternal Voyager, Captured in a New Biography
Author Kaelen Wilson-Goldie reveals the radical power of abstract painter Etel Adnan’s life and work in a new book.
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Painting According to Art Basel Miami Beach
At Art Basel Miami Beach, if you only look at the art, it’s an affair worth the trip, because if you want to see the newest art made in Saint Petersburg, Vienna, Barcelona, or Berlin, it’s here.
Posted inBooks
Etel Adnan: Philosophy at Night
Lebanese-American artist, philosopher, and poet Etel Adnan’s recent publication, Night, is in equal measure a series of meditations on intersubjectivity and spirituality, and a dialogue between prose poetry and short verse.
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Etel Adnan’s Vibrant, Visual Poems
LONDON — “Colorists are epic poets,” said Charles Baudelaire, and here at the Serpentine Gallery we have both: a painter of abstract landscapes and a poet, not to mention activist, scribe, and filmmaker.
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Lively Artworks That Make Room for the Mind
There is this one particular color of paint that appears in many of the paintings by Etel Adnan on view right now at Galerie Lelong in New York.
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Texting at the Whitney Biennial
Adam Weinberg, the director of the Whitney Museum of American Art, was candid in his opening day remarks when he commented that the Biennial had in the past been thought of — or was criticized for not being — a representative snapshot of American art.
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Whitney Biennial 2014: Stuart Comer on the Third Floor
On the third floor, 2014 Whitney Biennial curator Stuart Comer professed to “provide a kaleidoscopic glimpse of this historic moment,” emphasizing work that seemed in flux and in transition from one medium to another, one state to another, or even across borders and identities.