Tacita Dean’s retrospective exhibition at Museo Tamayo in Mexico City traces the artist’s career from 1986 to 2016. Showcasing large and small-scale paintings and photographs, manipulated postcards, found objects, installations, and a series of 16mm films, the exhibition is in dialogue with the architecture of the space, illuminating the artist’s perceptive sensibility of Mexico, and stressing her interest on the ephemeral—the microcosm of life.
In an essay for the Tate’s retrospective exhibition of Georgia O’Keeffe this past summer (2016), Griselda Pollock writes that as a young art historian in the 1970s, she initially could not “see” O’Keeffe’s work.
The relational spaces opened by the images in Paul Mpagi Sepuya’s Figures, Grounds and Studies are a happy disturbance to the homogenizing squares and grids of social media and dating app profile photos.
Dore’s house in East Hampton is small and rough, sternly sensual—no nonsense. No air conditioning either. You enter through the kitchen door in the back. The rooms have low plywood ceilings.
Call this an act of piety and self-education. Academia has sacrificed entire forests to the altar of Jane Austen, and I am not likely to add one whit to the pile. But her novel Mansfield Park has been gnawing at me for two decades, ever since I taught it at Skidmore College to a class of privileged young people who might have walked out of its pages.
From the Publisher & Artistic Director
On my recent trip to Marfa, Texas I was reminded of my first travels to Italy in 1987. I was profoundly moved by seeing works of art in the flesh, especially those in the site-specific contexts of apses or chapels. And I was thrilled to commune with their physical and material presences that were inseparable from the auras endowed by the artists who made them.
Editor's Message Guest Critic
In these grave times, art and fashion may seem, more than ever, like luxuries. But they are inextricably intertwined with everyday life, including political life. Think of the pink pussy hats that thousands of women knitted themselves to wear to the Women’s Marches on January 21.