Page 125 - Rtists News Today

In my larger body of work, “One Should Not Look At Anything,” I have explored the written word of Wilde’s poetry through highly constructed portraits and still lives made in my studio.

Though at first David Rhodes’s paintings appear to be reductive, repetitive and formulaic, with time one may come to the conclusion that his works are refreshingly deceptive in that he makes paintings that inform thought rather than ones that illustrate soundbites, or are displays of subjectivity and taste.

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

The feeling is like a slow abandon. I equate it to sharing a room, and in the room are all of these things, yours and theirs. Together they make the room, and this room is the relationship.

Morimoto, aka Rental Person, is a thirty-something Japanese man based in Tokyo. In 2018 he wrote a tweet to his small community of three-hundred followers announcing the start of a service called Do-nothing Rental “available for any situation in which all you want is a person to be there.” Within ten months his follower count had ballooned to 100,000 and he was being flooded with requests.

What is it like to be “of one’s time” and not? Leon Polk Smith was a prime progenitor of American hard-edged abstraction whose non-objective pedigree as a protégé of the painter and philanthropist Hilla Rebay, and subsequent track record of showing in the Betty Parsons and Egan Gallery early on, puts him squarely in the pocket of post-war American art ascendancy yet his legacy has subsequently remained a relatively independent part of that particular epic.

Something broke for good, an end / Too soon to use pictures as proof, the / Fence, still pending, in daydreams and / Tunnels, its meaning, immediate, then arrested.

December brought the publication of The Return of Inflation: Money and Capital in the Twenty-First Century (London: Reaktion, 2023), by Paul Mattick, who is—full disclosure—the Field Notes editor. Members of the Berlin collective Friends of the Classless Society thought that a conversation about issues raised by the book would be helpful because of the obfuscation and difficulty normally associated with discussion of money.

Cora was a relentless and ambitious maverick. She was constantly reinventing her work. She wouldn’t settle, wouldn’t stop exploring abstraction. The paintings always seemed to lead her. 

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.