Contemporary Art and Culture
The paintings in James Gold’s solo show, Infinite Scroll, act as intermediaries between past, present and future. These glimmering grids at Morgan Lehman gallery toggle between his deep reverence for history and his active aesthetic imagination. Talking with the painter about his wider practices in collaged artist books and archeological renderings revealed new means of perception and applications of art-making.
Continue reading “Reinventing the Grid: A Conversation with James Gold”
Aleksandra Scepanovic’s story begins in then-Yugoslavia, where the stark presence of brutalist architecture shaped her early sense of form and space. As a journalist during the 1990s she reported on the Balkan conflicts, bearing witness to the fractured landscapes of cities such as Sarajevo.
Continue reading “Aleksandra Scepanovic: Site Seen”
Sue and Al Ravitz have run the project space 57W57ARTS over past eleven years, with a focus on reductive and conceptual art. Located in Al’s psychiatric offices in Midtown Manhattan, they see their gallery as a way to show the art they like, and to create a community. 57W57ARTS has presented the work of close to 200 artists, mounting approximately eight shows per year, each consisting of several one-person exhibitions. This September, a new series began with five one-person shows.
Continue reading “Sue and Al Ravitz of 57W57ARTS”
In 2019, an art acquisition trip brought curator Lan Shi from Beijing to New York. When the pandemic extended her stay, she shifted her focus and began working as a full-time freelance curator and art agent. Since then, she has organized more than a dozen exhibitions of varying scale, including her current project with artist Jeffrey Morabito.
Continue reading “Jeffrey Morabito: The Caged Bird Sings”
What does it take to move an exhibition from one institution to another, and how does it change along the way? Caroline Burton’s The Back of the Moon began at The Clara M. Eagle Gallery at Murray State University, where curator T. Michael Martin first organized the presentation. Recognizing both the impact of Burton’s large-scale works and the practicality of transporting them rolled in tubes, Martin developed opportunities for the exhibition to travel. This led to a partnership with the Louise Hopkins Underwood Center for the Arts (LHUCA) in Lubbock, Texas, where curator Taylor Ernst re-envisioned the show for the Christine DeVitt Exhibition Hall. With each venue offering its own curatorial approach and installation design, The Back of the Moon continues to evolve as it moves between sites. In the following conversation, curators T. Michael Martin and Taylor Ernst discuss the process of shaping this traveling exhibition.
Continue reading “Caroline Burton: The Back of the Moon”
Curating an exhibition at Cornell doesn’t require waiting until after graduation or climbing a long academic ladder. The Art Department makes the process unusually accessible—for undergraduates, graduates, and faculty alike. Within the department, there are two dedicated galleries, and under the larger umbrella of the AAP College, a third gallery also accepts exhibition proposals. Each semester, a committee comes together to review applications for the following term. It was within this framework that two graduate students took on the challenge of organizing a large group exhibition. Michael Morgan, who co-curated the exhibition with Elina Ansary, tells us about the process behind the show.
Continue reading “Magnum O-Pspsps at Cornell”
The Essence of a Moment, a group exhibition presenting a collection of artists’ contemplations on the makings of a moment. A moment is by its nature fleeting, and it’s by our nature as people that we seek to extend or preserve them; despite their intangibility. This group show engages with the questions – How can one define something as nebulous as a moment? Is it done retrospectively after it has passed? Is it a confluence of occurrences? Or perhaps it exists with the body’s perception of the present moment? These works offer a variety of insights and perspectives into understanding a moment.
Continue reading “Taylor Bielecki: The Essence of a Moment”
Almond Zigmund’s work occupies the charged space between structure and disruption. Moving fluidly across sculpture, painting, and installation, her practice explores the intersection of geometry, architecture, and lived experience—often in subtle yet powerful ways. I have the pleasure of discussing her work at the end of her recent exhibition at East Hampton’s Guild Hall. In this interview exchange, Zigmund speaks about the formative influences that shaped her, from growing up in a creative household to navigating the distinct geographies of Brooklyn, Las Vegas, and the East End of Long Island. The conversation delves into the improvisational roots of her approach, her ongoing engagement with spatial systems, and how tension—between control and spontaneity, place and perception, the built and the organic—continues to animate her work. With references to theorists, artists, Zigmund offers a thoughtful and richly textured account of how art can be both experiential and critical, formal and deeply human.
Hovey Brock’s show, The Invasive Species, in collaboration with Cornell’s Eco Arts features a series of paintings that focuses on how the climate crisis in general and invasive species in particular threaten the forests of the Northeast—an outgrowth of his Crazy River project that focused on the climate crisis in the Catskills. The paintings have phrases or questions that have been obsessing Brock for some time.
Continue reading “Hovey Brock: The Invasive Species with Cornell’s Eco Arts”