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Showing art results: From 21 to 31


Anna Collevecchio: "The Door Is Right There"

by Tris McCall
published 2025-08-20

In winter 2015, On Kawara landed, gracefully, at the Guggenheim. For the next few months, the walls of the main rotunda were dedicated to Kawara's life work: intensely rendered monochromatic paintings of the date, every day, every year, for almost fifty years. Sometimes the curator paired these with newspapers that also corresponded to the date. Sometimes, the act of painting the date, over and over, was left to speak for itself.




 

Kyle Orlando: "Scratch Fever"

by Tris McCall
published 2025-08-13

Artists like cats because artists are like cats. The feline temperament is mercurial, ungovernable, mischievous, intermittently social, prone to periods of feverish activity followed by glowering reclusiveness. I'll wager many painters can relate. Cats are also beautiful animals, moving through the world with a well-curated mixture of adorableness and murderous malice. Phonies they are not. We respect them for their candor.



Deb Sinha: "Cult of Beauty"

by Tris McCall
published 2025-08-06

Storyteller, let's say you want to create a city from scratch. You'll begin by whipping up a cast of inhabitants. They're the reason why towns exists in the first place: they're spots where your characters might congregate, interact, and develop their own narrative trajectories. Unless you're an unusual kind of author, you're going to make these people appealing — attractive to you, and attractive to each other. They've got heavy lifting to do. They've need to maintain your interest while you're bringing them to life.



Kamonchanok Phon-ngam: "Threads of Inner Harmony"

by Tris McCall
published 2025-07-30

A fact that children know but grownups often forget: if you've got a pair of buttons and a length of string, you have all it takes to make a face. A sweet face, too, friendly and approachable, since string is soft and pliable, and everybody likes to fasten and unfasten buttons. Stitched smiles and shiny plastic peepers win us over quick, and even dolls assembled for mean scraps of fabric and loose twine speak straight to our deepest pleasures and protective impulses. Textiles, it turns out, are tethered to the heart. They remind us of our first tactile experiences, and the small, sheltered, hopeful world we inhabit before we've even got words to attach to what we're seeing.



"North Jersey Photographers" Exhibition"

by Tris McCall
published 2025-07-23

A photograph of a house tells us something important about the photographer. She's not inside it. A painter, a sculptor, or a printmaker can work from memory. She can sketch a building from the street, unlock the door, and render a picture of the exterior from a studio on the interior. The photographer doesn't have that flexibility. For her, creation of a work of art implies separation from her subject. Maybe that's why photographers always feel like outsiders.