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The five large John Hoyland paintings recently on view at Hales Gallery showcase two major moments from the British painter’s early career. Created in the heady years between 1965-1970, the paintings date from a period of cultural cross pollination during which the artist maintained studios in both London and New York City.
According to Guzmán, the central inspiration for The Man Who Should Be Dead is hexagram 18 (Ku: decay) of the I Ching. The hexagram has a double message. Firstly, that something has been spoiled, and, secondly, that what has been spoiled needs to be worked on.
The fifth iteration of the Chicago Architecture Biennial (CAB 5) performs similar acts of composition, bringing together uncertain, irresolute global futures by eighty-six thinkers spanning ten countries, curated by the city’s homegrown collective, Floating Museum.
“I am not what I am.” Ominous words spoken by Iago in Othello, but in the case of Richard Artschwager a definition of aesthetic principle. We can change the meaning of Shakespeare’s words by simply changing the context in which they appear, an idea that comes to the point of practically every piece included in David Nolan Gallery’s comprehensive yet comprehensible celebration of Artschwager’s centennial.
My time spent washing dishes at this eastern facing window is often contemplative. Lately my thoughts have been circling around the book I just read: a “Working Life” by Eileen Myles. The phrase that keeps intruding into my reverie is sumptuous novel. This book is like that.