At Kunsthalle Basel, the artist’s peculiar designs and polished surfaces speak to the violence against bodies BY KITO NEDO IN REVIEWS | 28 APR 21 In the short period between 1967 and 1974, German artist Joachim Bandau produced more than 100 sculptures and accompanying drawings. Kunsthalle Basel currently presents key works from this phase, which the artist abruptly cut […]
Couzens is keenly sensitive to the layered meanings inherent in the original adverts, which even today, look like overproduced exercises in a bygone nostalgia.
As you look at Christopher Miles’ work, it seems to shift between fantasy and reality, between conceptual zones and categories.
Broxton often titles his pieces with phrases from hip-hop or rap lyrics. For example, Worth the Weight is also the title to the first track in Nigerian-American musician Jidenna’s 2019 album 85 to Africa,[10] an album described as “a trip through the African diaspora that verges on sonic cinema.”[11] Broxton beads the text onto the boxing gloves using Czech or Japanese glass beads. Czech glass beads were introduced as trade goods to the indigenous people of North America and Africa by European colonialists and slave traders, respectively. The new material was quickly absorbed into traditional methods of making in both cases, taking on new meanings within different cultures.
Joachim Bandau was just over thirty years old when he began to forge the body of sculptures and drawings that marks a distinctive phase in his early practice. In 1967, he had begun the creation of his amorphous, vaguely humanoid sculptures built up from mannequin segments in combination with then-new industrial materials, and already by 1974, he announced the abrupt end of this production in order to move into a different direction.
we experience works by artists examining the mechanisms of gadgets, scientific instruments, and computer technologies to reveal the internal and external systems that help shape society
Sormin’s art transforms its humble substance into a medium for a new vision, in which the clay becomes a vehicle for a kind of dark matter made new.
by Julia Couzens Conceivably, the preeminent sense of Joachim Bandau’s deeply affecting watercolor paintings is blunt force silence. Their grave and resonant quiet embraces stillness. Water, paper, a single pigment and Japanese brush are the components Bandau uses to construct his work. Without texture, visible brushwork, or compositional fillips and inventions, his paintings are […]
Glass Breakfast, Amalia Galdona Broche ︎ Amalia Galdona Broche, Lexington Q&A Ian Carstens Amalia Galdona Broche is a multidisciplinary artist working in fibers, sculpture, installation, and time-based mediums. Broche creates in a labor-intensive, maximalist style that employs knotting, tearing, draping, and coiling techniques alongside traditional and modern technologies. She draws inspiration from […]
In this time of Zoom and Instagram, it’s as if we are flying above our own lives, bodiless viewers scanning bodiless things. Photogenic as their work is, seen in real life, Amos’s dazzling textile fabrications and Marsh’s mesmerizing vessels are primal entities — embodiments of energy, cracking live and urgent – formed by the internal relationships of their innovative processes and the imperiled region of material awe.