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IT’S NOT EASY to find the right moniker for Fereydoun Ave. Cumbersome hyphenates like artist-designer-gallerist seem reductive as labels for a métier that is more than the sum of its parts. Ave’s own artwork, marked by a theatrical sensibility, spans media (painting, collage, assemblage). He has produced stage sets, costumes, domestic interiors, and furniture, in addition to making frequent forays into graphic design. He has founded commercial galleries and experimental spaces. In his hometown of Tehran, he has a reputation for generosity, mentorship, and community-building and is also valued as the rare artist to have returned to live and work in Iran after the 1979 Islamic Revolution. “I’m a bridge, darling,” he told me recently. ....
HISTORY IS WHAT HURTS, Fredric Jameson quipped forever ago. There is a lot of history in the Fifty-Eighth Carnegie International, which reminds us that art should hurt, too. Unlike the previous International, which exulted in “museum joy” as curator Ingrid Schaffner’s termed the epiphanic wonder that arises through experiencing artwork with other people the latest edition of North America’s longest-running survey of international contemporary art slices through our relentless positivity culture, delivering instead a manifesto on art as survival, as open wound, as an accumulation of absences. In ....