To me, as a painter, the photographs of Luigi Ghirri are built rather than composed, things rather than images. The Italian phrase for taking a photo, fare una foto, literally means “to make a photo,” and this feels like some kind of key. Continue reading Luigi Ghirri
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Gagosian shows Gerhard Richter’s Cage paintings (2006) in Los Angeles and New York. Continue reading Gerhard Richter
For Murillo, the idea of physical presence and gesture in painting is connected to the act of using one’s body to demonstrate dissent in the face of power. In fact, the term manifestation is commonly used in several languages to describe a political protest. The presentation of this series has often exceeded the traditional limitations of the gallery wall, such as in Oscar Murillo: Horizontal Darkness in Search of Solidarity (2019–2020) at the Kunstverein in Hamburg, where the works formed part of an agora-like seating arena. Continue reading Oscar Murillo
Sacks utilizes diverse, work-a-day materials like cotton, burlap, lace, wood and cardboard, some fleetingly imprinted with poetic texts typed on the cloth by the artist using a manual typewriter. The artist also composes with fragments of Indian textiles, indigo blue cottons from South Africa, antique kimonos from Japan and embroidered linen from Normandy. The twisted, torn and joyful pieces of fabric evoke unfurled banners, flowing rivers, semaphores – and in this new series, the skyline of American cities. Continue reading Peter Sacks
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The tension between beauty and terror, alongside the inextricable relationship between history and place, has animated Kiefer’s work since the 1970s. Drawing on the literature of cultural memory—including poetry, the Old and New Testaments, and the Kabbalah—Kiefer gives material presence to myths and metaphors. He infuses the medium of paint with startling and unconventional gestures and objects, juxtaposing it with organic and abject materials such as straw, sand, charcoal, ash, and mud. Continue reading Anselm Kiefer