At the heart of Sara VanDerBeek's two-dimensional and installation-based work is a fascination with photography's power as a form of mediationbetween past and present, original and reproduction, and perception and thought. Her latest exhibition Lace Interlace at The Approach in London draws on her research into the work of early British photographers Julia Margaret Cameron (181579) and Isabel Agnes Cowper (18261911) at that city's Victoria and Albert Museum.
For more than three decades the peripatetic artist, Liu Xiaodong, has roamed far and wide from his base in Beijing to immerse himself, and the viewers of his work, in a world constantly transforming in unpredictable ways. In anticipation of his exhibition Shaanbei at Lisson Gallery, New York, for which I am writing a catalogue essay, I spoke to Liu Xiaodong over Zoom. Marco Betelli, the artists studio manager, kindly assisted with translations back and forth between English and Chinese.
On a sunny spring day I drove through the Catskill Mountains to visit my friend Uman at her South Pearl Street studio in downtown Albany. Her eight thousand square foot studio building was filled with paintings, drawings, painted objects, mannequins, fabrics, boxes of oil sticks, brushes and paint, and new glass sculptures that had just arrived in crates from San Francisco. Several workers were busy in the woodshop staining and making frames for new paintings. Her friend and studio manager, Joey Perez, helped with myriad details.
Known for her sand-filled, nylon stockings sculptures and performance works that mark the importance of collaboration, Senga Nengudi champions the importance of documentation and experimentation to build community. This year Nengudi has reached another peak in her illustrious career as the 2023 Nasher Prize Laureate.
The Irving Sandler Essay
Ive been through a strange liquidation of friends over the course of the pandemic. I dont think Im alone, though for others friendships have solidified. I still feel as if Im navigating the aftershock. Speaking recently with the writer and curator, Fiona Alison Duncan, we both acknowledged losing women friends in particular.