Leiko Ikemura is concerned with the meeting place of the spiritual and physical, the ineffable and material worlds.
Fergus McCaffrey
Posted inArt
What It’s Like to Visit Virtual Galleries as an Art Critic
Due to the pandemic, museums and galleries are now creating virtual experiences. Here’s what it’s like to visit them.
Posted inArt
Erasing the Binaries that Attempt to Contain Our Bodies
The body glistens. It is naked. It is torqued so that the face faces one bearing and the belly and genitalia faces the opposite. The translucent surface that skins the figure gleams wet.
Posted inArt
The Extraordinary Marcia Hafif
For Hafif, painting was a meditative act, a clarifying ritual.
Posted inArt
Grim Vistas of Present and Future Dystopias
In Anna Conway’s paintings, subtle evocations of the past highlight the tensions of our current moment.
Posted inPerformance
Placing Your Trust in the Black Male Body
In a performance at Fergus McCaffrey gallery, Clifford Owens used his body as an instrument to propel others not to fear, but to trust.
Posted inArt
Toshio Yoshida Emerges from Gutai’s Grasp
Even for viewers familiar with the diversity of art forms cooked up by the Gutai artists and the attitudes that informed them, much of what is on display in this Yoshida show may come as a surprise.
Posted inArt
Ladies First at the ADAA Art Show
Women artists are ubiquitous at the most august of the week’s art fairs, from canonical figures like Lee Krasner and Lee Bontecou to lesser-known figures like Zilia Sánchez and Evelyn Statsinger.
Posted inArt
In 1970s Japan, a New Art of Experiments, Edgy Photos, and Big Ideas
There are certain exhibitions in which some or many of the works on display are so interesting, provocative or well-made that they somehow manage to surmount whatever restrictive or overwrought critical-theoretical trappings their organizers have erected around them, defying the analytical filters through which they are meant to be considered and understood.
Posted inArt
Through a Lens, Inquisitively: Modern Photo Visions, of and from Japan
Most photographs of real-life events tend to be documentary by nature, but the kind of photographic image-making that makes a point of approaching its subjects with an “objective” viewpoint and a for-posterity sense of purpose — can such photos ever convey a truly neutral position vis-à-vis their subjects?