I just had to say something about this. Fortunately, I got talked to some friends about it as well.Read More
These Testino photographs really make you appreciate the genius of Helmut Newton.Read More
Bye Dave!Read More
“Heaven/Heaven is a place/A place where nothing/Nothing ever happens”
I know you probably don’t believe me, but Daniel Rich makes really sexy pictures. Of buildings and file servers.Read More
One of the best painters I know. Her work is a touchstone for my entire practice.Read More
This work is freaking big.Read More
My essay on the amazing William Cordova exhibition that was at the Mills Gallery at the Boston Center for the Arts, courtesy of artcore journal, founded and edited by Erin Dziedzic in collaboration with Gregory Eltringham.
Imaging Lazarus: The Undead in Contemporary Painting
I want to avoid the obvious discussion of painting being dead. It’s not. Rather, painting has been killed several times and has been brought back to life by a certain kind of belief, or faith in it. This faith sustains painting as a practice, but recently there has been a kind of representation of the body, the “undead” body in painting that I think has a lot to do with the history of painting, but an attempt to re-inscribe the art in general and body specifically as a site of political agency.
It bears an investigation of the story of Lazarus to get a sense of what I am talking about here. The tale is found in the Gospel of John. Many people focus on Jesus’s act of raising Lazarus from the dead (he had been entombed for four days) as a pre-figuring of his own resurrection. It is that, no question. But there are other elements of the story that I think are often overlooked.
Please visit the DRAIN site to read the rest of the essay. Click HERE.