Multiple sites of origin - real, romanticized, and perhaps longed for - exist in this digital collage by Lauren Halsey. Photo: Courtesy of the artist and David Kordansky Gallery Baldwin’s book came from the turbulence of the 1960s, and Jaar’s sculpture reflects the conflicts of the 1980s, yet the relevance of an illuminated globe atop a fire extinguisher remains painfully relevant in our world of the 2020s.
Courtesy the artist and Galeria Luisa StrinaĪlfredo Jaar’s The Fire Next Time is a dedication to a book written by James Baldwin of the same title. Illuminated globe and fire extinguisher, 99 cm x 41 cm x 41 cm. With paint applied on the front of the canvas, and pressure applied from behind it, Whitten created a powerful texture in this monochromatic work.Īlfredo Jaar, The Fire Next Time, 1988.
Courtesy the Estate and Hauser & Wirth.Īt just the moment when Jack Whitten sought to disguise the trace of the artist's hand, his signature was most profound. Photo: Sarah Muehlbauer © Jack Whitten Estate. A pristine silver tray holds up rusted railroad spikes, offering a sharp visual contrast and commentary. June Clark brings together two metal objects that suggest the labor of people she has known, and many more from generations past. Image courtesy of the artist and Daniel Faria Gallery Photo: Dean Tomlinson June Clark, Untitled (from the Perseverance Suite), 2023. Untitled (from the Perseverance Suite), 2023
In this 'still life,' I see both an ode to and challenge of art history. This painting is simultaneously abstract and representative in a way only Mary Lovelace O’Neal could achieve. Courtesy Jenkins Johnson Gallery Copyright Mary Lovelace O’Neal. Mary Lovelace O’Neal, TID- Flowers and Still Life, Who Expected It, circa 1990s, mixed media on canvas, 84 x 60 in, signed verso. TID - Flowers and Still Life, Who Expected It, circa 1990s
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