Emily Mason remembers her mother saying, “I’ll be famous when I’m dead.” Though fame may not be quite secured (yet), the artist’s first-ever monograph acts as bulwark against forgetting her legacy.
California has a rich history of artful book making. Here’s a small sampling of presses old and new.
Artist and scholar Stefano Bloch has written a story that is personal, but also a primer on graffiti’s history and artistic and social import.
Fein, who turns 100 years old today, may be the last Surrealist artist still standing.
The title of Great Women Artists is complete with a strikethrough across “women,” to indicate that the artists within are “great artists” regardless of gender. Visually, it’s arresting, but its intention is murky.
The show is essentially a love story, arranged both chronologically and thematically, and unfolds almost like a serial novel. A precursor to Proust, say, in paint.
The results are arresting, as the writers, who are also men in prison, make anonymous images their own, speaking out of their own experiences, bringing insights and empathy that no outside critic or art historian could.
The previously unknown Polaroids of April Dawn Alison were not just snatched from the jaws of oblivion, but are now in an esteemed museum collection.
Much of Rubens’s Baroque bravura feels timely in its grappling with violence, terror, power, sex, and coercion.
For It Speaks to Me, Jori Finkel asked 50 artists, from Marina Abramović to David Hockney, “to discuss a museum piece that intrigues or inspires them from their hometown.”
When an unexpected opportunity arose to spend her year living in the famed Palazzo Rucellai, Allison Levy seized on it.
What struck me most in moving through the arc of Lacy’s career is what varied and thoughtful work she’s produced decade after decade, no doubt the result of her preference for collaboration.