CBS Sunday Morning – Preston Singletary, a member of the Tlingit tribe of Alaska and the Pacific Northwest, uses a very untraditional medium when fashioning indigenous art: glass.
He talks with correspondent Lilia Luciano about his traveling exhibition, “Raven and the Box of Daylight” (now at the Museum of the American Indian in Washington, D.C.), which tells a Native American folktale about the origins of the world entirely through glass.
The story Raven and the Box of Daylight, which tells how Raven transformed the world and brought light to the people by releasing the stars, moon, and sun, holds great significance to the Tlingit people of the North Pacific Coast. A new body of work by artist Preston Singletary immerses readers in Tlingit traditions by telling this story through his monumental glass works and installations. Primarily known for his celebration of Tlingit art and design, Singletary explores new ways of working with glass inspired by Tlingit design principles. This book includes texts that place Singletary’s work within the histories of both glass art and Native arts traditions—especially the art of spoken-word storytelling. Also included are a biography and an interview with the artist. Co-authored by Miranda Belarde-Lewis and John Drury.
Plus: reframing the Fitzwilliam Museum, a brief history of mulled wine, what’s next for NFTs and, in reviews: the triumph of the Tudors, ways of seeing at the Wellcome Collection and the unfashionable art of Ruskin Spear
You enter a troubling parallel universe in Henry Fuseli’s drawings of women: a place of exaggeration and highly sexualised imagery, where his subjects engage in role-play and the theatrical and erotic and idiosyncratic collide. It’s an inventive, private realm: not one of the drawings in the Courtauld’s fascinating exhibition was displayed in public during the artist’s life.
“He distorts human figures by breaking them up into geometric shapes and planes.“
“These abstract compositions are united by the Cubist style and vibrant color palette.“
Georgy Kurasov was born in 1958 in the USSR, in what was then Leningrad. He still lives and works in the same place, but now the country is Russia and the city is called St Petersburg. Without any effort on his part whatsoever, Georgy seems to have emigrated from one surreal country to another.
Attirement of the Bride is an example of Max Ernst’s veristic or illusionistic Surrealism, in which a traditional technique is applied to an incongruous or unsettling subject. The theatrical, evocative scene has roots in late nineteenth-century Symbolist painting, especially that of Gustave Moreau. It also echoes the settings and motifs of sixteenth-century German art. The willowy, swollen-bellied figure types recall those of Lucas Cranach the Elder in particular. The architectural backdrop with its strong contrast of light and shadow and its inconsistent perspective shows the additional influence of Giorgio de Chirico, whose work had overwhelmed Ernst when he first saw it in 1919.
The Whitney Biennial has surveyed the landscape of American art, reflecting and shaping the cultural conversation, since 1932. The eightieth edition of the landmark exhibition is co-curated by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives, and Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs. Titled Quiet as It’s Kept, the 2022 Biennial features an intergenerational and interdisciplinary group of sixty-three artists and collectives whose dynamic works reflect the challenges, complexities, and possibilities of the American experience today.
‘Art In America’ May 2022 – Each May, Art in America brings our readers a sampling of “new talent,” with a special focus on artists whose practice makes them stand out in a sea of competitors vying for attention. “Practice” is very much the operative word here: at a time when many artists are becoming known more for their social-media presence than for their creative endeavors, and when careers are bolstered more by the market than by critical attention, the editors, critics, and curators who contributed to our selection this year remained centered on what matters. As you’ll discover in these pages, the artists showcased are all contributing in some resonant way to the ongoing dialogue around art, aesthetics, and the culture at large, from Alexander Si, who turns an anthropological lens on the culture of whiteness; to Suneil Sanzgiri, whose films engage with anticolonialism; to Laurie Kang, who treats photography as a form of installation art (and who has contributed a compelling print to this issue); to the other notable talents featured. With this issue, we continue a tradition developed over more than a century of this magazine: writing art history as it is being made.
True to Nature: Open-air Painting in Europe 1780-1870 Explore the inventive ways artists in the 18th and 19th centuries recorded fleeting moments in nature, capturing the effects of light, drama, and atmosphere first-hand in the open air.
Collection Loïc Malle (6 April 2022 | Paris) – Sotheby’s presents a collection which reads like an anthology of contemporary art, particularly artworks that deal with the act of experience. The experiences expressed through the collection are as diverse as the artists that it encompasses, which includes Marcel Duchamp, Yves Klein, Robert Smithson and Sol LeWitt.
Behind this iconic painting by Vincent van Gogh is the artist’s inspiring story about healing, as he struggled with the challenges of a psychiatric disorder. Learn more about this period in his life in which he produced some of his most famed work.
Getty has joined forces with Smarthistory to bring you an in-depth look at select works within our collection, whether you’re looking to learn more at home or want to make art more accessible in your classroom. This six-part video series illuminates art history concepts through fun, unscripted conversations between art historians, curators, archaeologists, and artists, committed to a fresh take on the history of visual arts.