Cultured Magazine
The Rapturous Abstractions of Zeng Fanzhi
‘This is a show about painting, about experimentation … It’s about the questions I pose to myself … And already, standing here in the gallery, I’m asking myself new ones.’
Artnet News
The Late Canadian Polymath Rodney Graham Is Getting a Posthumous Showcase in the British Countryside
‘...it is one of the last exhibitions of his own work that he had a hand in organizing, and aptly showcases him as a unique artist, masterfully aloof, and still winking from beyond the veil.’
The Guardian
A stitch in time: the enduring influence of the Gee’s Bend quilters
‘Quilting is instructive in how these artists expand what their visual plane can look like’
Wallpaper*
Berlinde De Bruyckere on religion, chaos and decay
‘De Bruyckere’s ‘A simple prophecy’, in symbolism, execution and inspiration, proposes a narrowing of the gap between religious symbols and humanity.’
Studio International
Luca Massimo Barbero – Interview
‘A visionary with a vital forward-looking vision, Fontana was a pioneer of conceptual art and not just sculpture; his was a poetic response to more mental experimentation.’
ARTnews
Gallery-Sponsored Artists Residencies Are Spreading Across the World
‘‘... we have hosted 18 artists at the residency studios, inviting them to spend an extended period of time living and working in Bruton.’ Artists who have taken up a short residence there include Rashid Johnson, Martin Creed, Henry Taylor, Bharti Kher, and Thomas J Price. The current and 19th resident is London-based artist Allison Katz.’
The New York Times
Lucio Fontana, a Sculptor but So Perverse
‘Fontana may have been confronting space, but he was rethinking and reinventing in concrete form millenniums of European sculpture. He was, it turns out, quite a sculptor.’
The Brooklyn Rail
Richard Jackson with Jeffrey Grunthaner
19 December 2022‘Richard Jackson often gets referred to as a performance painter; and while there’s some truth to this, I think it’s more interesting that he works in and around the gestural properties of painting—often liberating paint and pigment from the direction of the artist’s hand entirely.’
