For his current exhibition at David Kordansky Gallery in New York, Fred Eversley has produced a new body of sculptures that realize ideas initially explored by the artist in writing some fifty years ago. The Cylindrical Lenses, which consist of six vertically-oriented structures measuring between seven and nine feet tall, mark the first time that Eversley has made free-standing, floor-based works in resina material that has been intrinsic to his practice since the very beginning.
There is a sense of mutual trust and affinity when Katy Siegel and Mark Bradford are in conversation, as they have been for more than a dozen years. On the occasion of Bradfords current exhibition at Hauser & Wirth, New York, Siegel joined the artist at the gallery shortly after the installation was complete. In this conversation they discuss the evolution of Bradfords latest body of work, how he maneuvered through COVID closures, and what it means to imbue works of art with hope and faith.
Although he resists the term nomadic, Gabriel Orozco has woven an international career through a network of objects, installations, and interventions linked by contingency and contiguity. His use of photography, collage, and found objects has enlarged the scope of sculpture.
Theres a point about halfway through After SFX (2018) where Lawrence Abu Hamdan pauses his performancehes just relayed the story of Lebanese President Émile Lahouds security tackling a cameraman after mistaking the sound of a tripod for the sound of a pistoland a low, screeching hum, like a buzzing bee or a car burning out in the distance, fills the auditorium.
Janne Sirén is the director of the Buffalo AKG Art Museum, a 161-year-old institution with one of the most important collections of American Abstract Expressionism. He was named director in 2013 and guided the organization through a major building project in which the concept of partnership was the cornerstone of the process. Sirén joined Guggenheim President Emeritus Jennifer Stockman and Rail Consulting Editor Joachim Pissarro for a conversation about the history of the Buffalo AKG, the fascinating career path Sirén created to arrive where he is, and the visionary work that goes into building a venerable collection.
As many of us know, to be in the presence of a work of art is to be present with your whole body. One doesnt just look, one feels. This is especially true for those whose artwork has become so well known that we think we know it because of all the times weve seen its image reproduced. Artists understand this predicament with acute sensibility. For this reason, we asked a few artists to respond to the paintings of master Philip Guston at the National Gallery of Art in Washington, DC. We're honored to share their luminous responses below.