Visual Artist: Mariko Mori

via: mori

Notes:

From the perspective of a critical philosophy that seeks the a priori conditions of aesthetic judgment, Mariko Mori’s work discloses a synthesis of the sensible and the supersensible that invites what I term “purposiveness without purpose.” Her installations—whether a luminous, other-worldly sculpture or an immersive environment of sound and light—present forms whose beauty cannot be reduced to mere empirical delight. They compel the free play of imagination and understanding, arousing a feeling of harmony between our faculties that is the very essence of the judgment of taste. Mori’s art, in its ethereal clarity and technological refinement, seems to suspend the distinctions between nature and artifice, inviting the beholder to contemplate the Idea of a world beyond mere appearance.

Yet Mori’s practice also engages the sublime, that which exceeds the capacity of sensibility and forces reason to recognize its own supersensible vocation. Works such as Wave UFO or Dream Temple envelop the spectator in a cosmic ambience, wherein infinite space and radiant color point beyond the limits of empirical intuition. Here the viewer encounters not the agreeable but the overwhelming, and in this very excess discovers the moral destiny of reason itself. The technological apparatus—laser, fiber optics, and digital projections—serves not as mere novelty but as a medium through which the mind senses its own independence from nature’s determinate forms.

Finally, Mori’s synthesis of ancient spiritual motifs with cutting-edge technology exemplifies a regulative ideal of universal community. By uniting Shinto, Buddhist, and futuristic imagery, she gestures toward a cosmopolitan harmony of cultures and epochs, reminding us that aesthetic experience can ground a moral commonwealth. Her art does not dictate doctrine; rather, it elicits the disinterested pleasure that awakens respect for the moral law within. Thus, judged by the principles of a critical aesthetic, Mariko Mori’s oeuvre stands as a modern manifestation of reason’s drive to reconcile the phenomenal and the noumenal, offering an experience both sensuously radiant and philosophically profound.

- RJG // AI

Visual Artist: Kerry James Marshall

via: marshall

Notes:

Kerry James Marshall is a seminal figure in contemporary painting, celebrated for his uncompromising commitment to depicting Black life and history within the grand tradition of Western art. His work deliberately engages the absence of Black figures in canonical art history, filling that void with powerful images of everyday life, myth, and history. By using a rich, almost velvety black pigment to render his subjects, Marshall asserts presence with undeniable force, creating figures that resist erasure while simultaneously radiating dignity and complexity. His compositions often balance realism with stylized abstraction, offering scenes that feel both familiar and elevated to the realm of history painting.

Marshall’s paintings excel at layering narrative and symbolism. Works such as his “Garden Project” series take seemingly ordinary public housing landscapes and transform them into monumental reflections on community, resilience, and systemic inequities. By embedding subtle references to art history, popular culture, and politics, he builds multilayered works that demand careful looking and reward sustained engagement. His use of vibrant color, flattened perspective, and text interlaced with figuration draws viewers in, inviting them to reconsider assumptions about beauty, representation, and cultural value. This combination of visual magnetism and conceptual rigor is what sets his practice apart.

At the same time, Marshall’s work pushes beyond critique toward construction. His paintings don’t simply point to absence; they build presence, constructing an alternative visual archive that honors Black experience. In doing so, Marshall challenges institutions and audiences alike to expand their understanding of the canon, and to reckon with what has been historically excluded. His ability to merge technical mastery with urgent social commentary situates him as both a painter’s painter and a cultural historian. Ultimately, his oeuvre is not only a re-inscription of Blackness into art history but also a generative model for how painting can operate as a site of cultural repair and empowerment.

RJG // AI

Visual Artist: Tschabalala Self

via: self

Notes:

Tschabalala Self’s work is a bold and inventive fusion of figuration, abstraction, and material experimentation that challenges traditional representations of the Black female body. Through her use of painted canvas, sewn textiles, and collage, Self constructs dynamic, exaggerated figures whose forms reject rigid ideals of proportion and beauty. Her compositions are often both celebratory and confrontational, embracing bodily presence as a site of power, desire, and complexity. The layering of fabrics—ranging from patterned cloth to repurposed materials—imbues each figure with a tactile, almost sculptural dimension, allowing Self to create a visual language that is at once deeply personal and culturally resonant.

Her process is equally significant in understanding the impact of her work. Self’s practice blends painting, printmaking, and sewing in a way that erases boundaries between fine art and craft, underscoring the value of traditionally feminized labor. Each element is meticulously placed yet carries an intuitive energy, suggesting a push-and-pull between control and spontaneity. This layered methodology mirrors the layered identities her figures embody—constructed from fragments yet fully whole. By integrating textiles reminiscent of domestic and cultural spaces, Self imbues her works with both autobiography and a broader commentary on Black diasporic life, highlighting how personal and collective histories are stitched together.

Conceptually, Self’s work stands out for its capacity to inhabit multiple registers at once—playful and political, intimate and monumental. The scale of her figures often challenges the viewer’s space, demanding recognition while resisting objectification. In doing so, her work reframes narratives about race, gender, and sexuality, positioning the Black female body as a site of agency rather than passive depiction. Self’s ongoing exploration of materiality, identity, and representation positions her as a vital voice in contemporary art, one whose process-driven practice continues to evolve while maintaining a consistent commitment to challenging and expanding the visual canon.

- RJG / AI

Visual Artist: Martin Puryear

via: puryear

Notes:

Martin Puryear is a sculptor whose work masterfully balances abstraction with craftsmanship, infusing minimalist forms with cultural and historical resonance. His sculptures often evoke organic shapes, architectural elements, and tools, inviting viewers to contemplate the relationships between material, form, and meaning. Working primarily with wood but also incorporating metal, stone, and wire, Puryear demonstrates a deep reverence for traditional craft practices while maintaining a distinctly contemporary sensibility. His attention to detail and form results in works that are both visually striking and meditative, often appearing deceptively simple while carrying complex conceptual underpinnings.

Puryear’s work frequently explores themes of identity, race, and American history without being overtly didactic. Pieces such as Ladder for Booker T. Washington (1996) present a poetic metaphor of aspiration and struggle, using a tapering, hand-carved ladder suspended impossibly into space. In this and other works, Puryear distills emotional and political content into physical form, allowing material and structure to speak subtly yet powerfully. His avoidance of figuration in favor of abstraction allows for openness and multiplicity of interpretation, making his sculptures resonate across diverse contexts and audiences.

Puryear’s influence lies in his ability to seamlessly integrate aesthetic elegance with intellectual rigor. His commitment to hand-making and the physicality of his process stands in contrast to the often industrial or conceptual approaches of many of his contemporaries. This devotion to process imbues his sculptures with a palpable human presence, engaging viewers in a sensory and contemplative experience. By bridging modernist form with personal and historical content, Martin Puryear has established a body of work that is both timeless and profoundly relevant to contemporary discourse.

- RJG / AI

Visual Artist: Jaakko Pernu

via: pernu

Notes:

Jaakko Pernu’s sculptures manifest a seamless tension between minimalism and organic complexity. Drawing from early experiences assisting his boatbuilder father, he transforms willow branches and logs into lattice‑like structures that, while massive, retain an unexpected delicacy in.pinterest.com+11Thegreensideofpink+11Welum+11contemporaryearthart.wordpress.com+2thefreelibrary.com+2contemporaryearthart.wordpress.com+2. His Timberline series, for instance, cleverly merges chaotic natural forms with sharply defined geometric volumes—contrasting raw wood tangles with cubic or elevated silhouettes ThegreensideofpinkWelumbrowercenter.org.

Thematically, Pernu’s work thoughtfully addresses ecological dialogue and human impact. He leaves much to interpretation—his pieces don’t preach, but they evoke awareness of how we shape nature and vice versa freeyork.org+12Thegreensideofpink+12Thegreensideofpink+12. This subtle conceptual framing is reinforced by visual irony: his structures, built from local materials and thousands of fasteners, engage with minimalist aesthetic ideals while inviting reflection on sustainability, dematerialization, and artistic footprint ThegreensideofpinkWelumbrowercenter.org.

Yet the artist’s ambitious scale and material choices can also impose limitations. Though stunning in form, these works often demand significant transport, assembly labor, and mechanical fixings—elements that may undercut the ecosystem‑friendly ethos expected of environmental art. Moreover, the over‑reliance on screws and structural reinforcement contrasts with more sustainable, ephemeral land-art approaches that permit natural decay. Despite this, Pernu’s deliberate use of contradictions—massive yet fragile, industrial yet organic—creates a visually arresting commentary that situates his practice at the intersection of art, ecology, and cultural identity contemporaryearthart.wordpress.com+4Thegreensideofpink+4Thegreensideofpink+4.

Overall, Pernu’s work is compelling both for its craftsmanship and its conceptual field: it remains grounded in Scandinavian landscape tradition while engaging in broader conversations about environment, materiality, and human presence.

- RJG/AI

Visual Artist: Dawoud Bey

via: bey

Notes:

Dawoud Bey’s landscape work marks a poignant and evocative expansion of his acclaimed photographic practice, best known for portraiture. In his landscape series, particularly Night Coming Tenderly, Black, Bey masterfully reimagines the American landscape as a site of historical memory and quiet resistance. Through deeply shadowed tones and rich, almost tactile blacks, Bey transforms ordinary fields, forests, and rural paths into contemplative spaces that evoke the clandestine journeys of freedom seekers on the Underground Railroad. His photographs are not only visually compelling but also historically resonant, engaging viewers in a meditative act of remembrance.

What distinguishes Bey’s landscapes is their psychological depth and formal rigor. Unlike traditional landscape photography that celebrates light and openness, Bey leans into obscurity, intimacy, and restraint. The dark tonal range invites a slower, more attentive form of seeing, mirroring the cautious movements and emotional tension of those navigating these routes to freedom. His compositional choices—low horizons, dense foliage, and shallow depth—draw viewers into the frame, situating them not as distant observers but as potential participants in these hushed narratives.

Bey’s landscape work is a powerful example of photography’s ability to reclaim and reframe history through aesthetics. His images offer a counter-visual history—one that privileges the unseen, the whispered, and the invisible legacies embedded in the land. Rather than presenting history as fixed or monumental, Bey’s work asks us to feel it, walk through it, and consider its echoes in the present. Through these landscapes, Dawoud Bey expands the vocabulary of both landscape photography and African American visual storytelling, offering a body of work that is both haunting and profoundly humane.

- RJG/AI

Visual Artist: Osinachi

via: Osinachi

Notes:

“One of Osinachi’s notable works, “Abitt: The Second Renaissance is Coming,” exemplifies his ability to merge personal history with digital innovation. Rendered in vivid colors, the artwork features a central figure juxtaposed against elements of urban life, such as street art and historical buildings, subtly hinting at locations like Toledo, Ohio. These elements, layered with textures sourced from the internet, create a dynamic visual narrative akin to the street art influences of Jean-Michel Basquiat, adapted for a digital era.

Osinachi’s rise to prominence within the art world parallels the growing acceptance and recognition of digital art. Initially met with skepticism, particularly in traditional art institutions, digital art, and its intersection with blockchain technology through NFTs (non-fungible tokens), has ushered in a new era. Osinachi made history in 2021 as the first African artist to have his digital artwork auctioned as an NFT by Christie’s in Europe, signaling a significant shift in the art market’s landscape.

His involvement with institutions like the Toledo Museum of Art as an artist in residence further underscores his impact on digital art’s legitimization. Under the museum’s progressive leadership, Osinachi has been able to explore new dimensions of his practice, experimenting not only with digital media but also bridging into physical forms like glass. This residency not only fosters innovation but also challenges the boundaries of what constitutes art in the digital age.

Reflecting on his journey, Osinachi emphasizes the inclusive nature of digital art: “I think about digital art as sort of like the Internet: it is for everyone.” His statement encapsulates a philosophy that invites diverse perspectives and encourages artistic experimentation beyond conventional mediums.

As Osinachi prepares for Christie’s upcoming auction, “Abitt: The Second Renaissance is Coming,” part of the prestigious “Next Wave: The Miami Edit,” his work continues to push boundaries and redefine contemporary art. His narrative-driven illustrations, born from a blend of personal history and technological prowess, invite viewers to explore and contemplate the evolving intersection of art, culture, and technology.”

- ADA | AfricanDigitalArt.com

Visual Artist: Ron Bechet

via: cacno

Notes:

From the Storms of Our Souls: The Art of Ron Bechet, curated by Shana M. griffin, explores the everyday experiences, communal ties, ancestral connections, and ecological encounters of Blackness. Featuring large-scale monochrome works inhabited by expressive portraits arising from nature, From the Storms of Our Souls invites viewers to engage in a poetic collection of belonging—journeying through the intimate dimensions of deeply furrowed barks of trees intertwined with curves of vines and punctuating roots, trunks, and falling leaves—revealing the often-concealed narratives of Black life.

Ron Bechet’s commanding use of charcoal drawings brings into sharp focus a Black visuality that challenges the often-overlooked experiences, voices, teachings, and whispers of ancestral wisdom reflected in nature. Within the exhibition, gestural traces of memory are juxtaposed with choreographic themes oscillating between severed kin, racial caste, social constraints, death, and loss to contemplation, rebirth, freedom, beauty, ancestral devotion, reverence, and justice.
— Contemporary Art Center New Orleans

Visual Artist: Tala Madani

via: madani

Notes:

Tala Madani’s art is a captivating collision of slapstick humor and grotesque vulnerability. She populates her canvases with balding, paunchy male figures who defy convention—engaging in absurd bodily performances that often involve fluids, light beams, or comical postures sothebys.com+15davidkordanskygallery.com+15flash---art.com+15. This visceral, cartoon-inspired aesthetic belies a deeper exploration of power, masculinity, and primal impulses, as her work “prompts reflection on gender, political authority, and questions of who and what gets represented in art” davidkordanskygallery.com+2davidkordanskygallery.com+2davidkordanskygallery.com+2. Her painterly approach—loose brushwork, quick gestures, and raw immediacy—adds to the emotional punch, extending her critique beyond content into the very form of the work.

What makes Madani’s work particularly compelling is its balance: while ribald and at times unsettling, it retains warmth and wit. Critics have noted its uncanny ability to evoke both charm and disgust, a “raucous assault” on viewer comfort that remains thoughtfully composed newyorker.com+4flash---art.com+4artreview.com+4darz.art+11latimes.com+11de.wikipedia.org+11. For example, in her MOCA “Biscuits” exhibition, paintings are hung within a wallpapered room smeared with fecal-brown paint—immersing the audience in the messy edges of our collective psyche and cultural taboo newyorker.com+2latimes.com+2moussemagazine.it+2. This immersive setting reinforces how her imagery taps into subconscious anxieties and social critique.

Madani’s more recent works, including her “Shit Mom” and “Cloud Mommy” series, push the boundaries of her earlier themes—addressing motherhood, vulnerability, and fantasy through surreal gestural forms sothebys.com+14newyorker.com+14flash---art.com+14. Her animations, drawn frame by frame, carry the same low-fi, spontaneous energy as her paintings, reminding us that transgression can be tender, not just shocking latimes.com. Overall, Tala Madani’s art operates as a powerful engine of catharsis and critique—melding the absurd and the profound to challenge our assumptions about identity, embodiment, and power in profoundly human terms.

- RJG/AI

Visual Artist: Nick Bultman

via: bultman

Notes:

Nick Bultman’s artwork displays a compelling fusion of architectural structure and painterly spontaneity. His compositions often explore themes of spatial ambiguity and formal tension, creating dynamic visual fields that oscillate between abstraction and recognizable form. The juxtaposition of rigid geometric scaffolding with expressive, often gestural marks reflects a thoughtful exploration of order versus chaos. His use of color, typically restrained yet deliberate, supports this duality and guides the viewer’s eye across layered surfaces that suggest both built environments and emotional landscapes.

A strength in Bultman’s work lies in his ability to control visual rhythm while maintaining a sense of unpredictability. His manipulation of depth, particularly through overlapping forms and tonal shifts, invites closer inspection and rewards prolonged viewing. However, in some pieces, the tension between spontaneity and structure leans heavily toward control, potentially stifling the energy that his brushwork seems poised to unleash. Allowing more room for intuitive mark-making or material experimentation might open new dimensions in his practice and intensify the emotive potential of the work.

Constructively, Bultman could further develop the physicality of his surfaces by introducing a wider range of textures or mixed media. Exploring scale—both monumental and intimately small—might also yield new insights into the psychological impact of his spatial investigations. Additionally, incorporating elements that hint more directly at personal narrative or social context could ground his formal investigations in more pointed conceptual frameworks. Overall, Bultman’s art demonstrates rigor and a refined visual language, with fertile ground for further risk-taking and depth.

RJG/AI

Installation Art: Nonotak Studio

via: nonotak

Notes:

Nonotak Studio, the collaborative project of visual artist Noemi Schipfer and architect-musician Takami Nakamoto, occupies a unique space at the intersection of installation art, light design, and sound architecture. Their work is deeply immersive, often combining meticulously choreographed light patterns with ambient and rhythmic soundscapes to create ephemeral, experiential environments. Drawing on principles from both kinetic art and spatial design, Nonotak’s installations are striking for their architectural precision and sensitivity to scale, light, and temporal rhythm.

One of the studio’s defining features is its ability to manipulate light and space in a way that challenges perception. In works like Daydream V.6 and Zero Point Two, they use translucent scrims, projection mapping, and synchronized sound design to create illusions of infinite depth and kinetic motion. Their installations often appear minimal at first glance but unfold complex layers of visual information through movement and time. This disciplined approach evokes a meditative, otherworldly quality that invites viewers to become participants rather than passive observers.

Nonotak’s practice is especially notable for its successful fusion of analog and digital sensibilities. Rather than overwhelming with spectacle, their use of technology enhances the poetic and sculptural possibilities of light and sound. While their work can be aligned with the traditions of Op Art and light art pioneers like James Turrell or Bridget Riley, Nonotak pushes the dialogue further by integrating contemporary tools and audio-visual performance. The result is a compelling body of work that bridges art, architecture, and electronic media with a focused, atmospheric intensity.

- RJG//AI

Visual Artist: James Turrell

via: turrell

Notes:

James Turrell’s Celestial Vault (1996), situated in the dunes of Kijkduin near The Hague, exemplifies his exploration of light, perception, and spatial experience. This earthwork features an artificial elliptical crater, measuring approximately 30 by 40 meters, with a central stone bench designed for visitors to recline and gaze upward. The curvature of the crater's walls frames the sky, creating an optical illusion where the sky appears as a tangible dome, challenging viewers' perceptions of space and depth .Pinterest+9api.flickr.com+9stroom.nl+9Condé Nast Traveler+8Hero+8Architectural Digest+8

Turrell's work draws parallels to 19th-century panoramic art, such as Hendrik Willem Mesdag’s Panorama of Scheveningen. While Mesdag's panorama offers a 360-degree painted landscape, Turrell's Celestial Vault provides a direct engagement with the sky, emphasizing the act of perception itself . This installation encourages a meditative experience, aligning with Turrell's Quaker background and his interest in creating spaces for contemplation and introspection.Illinois Experts

However, the Celestial Vault is not without its challenges. Over time, natural elements have altered the pristine condition of the installation, with overgrown foliage and weathering affecting the crater's appearance . Despite this, the core experience remains impactful, as the installation continues to offer a unique perspective on the sky and our place within the natural world. Turrell's Celestial Vault stands as a testament to his ability to transform landscapes into spaces that prompt reflection on perception and the environment.Atlas Obscura+1api.flickr.com+1Live the World+3Condé Nast Traveler+3Architectural Digest+3

- RJG

Installation Artist: Georges Adéagbo

via: adeagbo

Notes:

Georges Adéagbo, a Beninese artist born in 1942, has garnered international acclaim for his assemblage installations that weave together found objects, texts, and handcrafted items. His works, often sprawling across walls and floors, challenge conventional narratives by juxtaposing elements from diverse cultures and histories. Adéagbo's approach dissolves hierarchies, placing everyday items alongside traditional art forms to prompt viewers to reconsider preconceived notions of value and meaning.Contemporary And+6Wikipedia+6Contemporary And+6barlach-haus.de+1Contemporary And+1

Central to Adéagbo's practice is the concept of cultural dialogue. By incorporating materials collected during his travels and collaborating with artisans in Benin, he creates installations that reflect on global interconnectedness and the complexities of identity. His work often addresses themes such as colonialism, spirituality, and the human condition, inviting audiences to engage in introspection and critical thought. Adéagbo himself emphasizes the instructive value of art, stating, "Art must have an instructive value. What I make is not decorative. It's not just there to be visually pleasing" .Contemporary And+2KINDL – Centre for Contemporary Art+2Contemporary And+2The Brooklyn Rail

While Adéagbo's installations are rich in narrative and symbolism, their dense layering can sometimes pose challenges for viewers unfamiliar with the specific cultural references. However, this complexity is also a strength, as it encourages deeper engagement and exploration. His refusal to label himself strictly as an artist underscores his belief in the transformative power of creative expression beyond traditional art world classifications. Through his work, Adéagbo offers a compelling commentary on the fluidity of culture and the potential for art to bridge disparate experiences

- RJG

Visual Artist: Olesya and Andriy Voznicki

via: Voznicki

Notes:

Andriy and Olesya Voznicki, a Ukrainian artist duo, have cultivated a distinctive body of work that harmoniously blends traditional craftsmanship with contemporary sensibilities. Their practice, rooted in the Carpathian region's rich artistic heritage, often incorporates natural materials like clay, wood, and coal, reflecting a deep connection to their environment. The duo's relocation to the Netherlands amid geopolitical upheavals has further influenced their artistry, prompting explorations into themes of displacement and renewal. Their recent works, such as the "Anthropocene" series, exemplify this evolution, utilizing locally sourced materials to create pieces that resonate with both personal and universal narratives. ​zakarpat.brovdi.art+12Studio Piet Boon+121stDibs+122022.homofaber.com+4Mia Karlova Galerie+4Mia Karlova Galerie+4Mia Karlova Galerie+11stDibs+1

The Voznickis' sculptures and ceramic pieces are characterized by organic forms and textures that evoke natural phenomena. Their "Gonta" series, for instance, draws inspiration from ancient Carpathian architecture, repurposing aged wooden shingles into contemporary art objects. This approach not only pays homage to their cultural roots but also engages in a dialogue about sustainability and the lifecycle of materials. Their work's tactile quality invites viewers to contemplate the intersection of nature and human intervention, a theme further explored in exhibitions supported by institutions like Mia Karlova Galerie. ​Studio Piet Boon+11stDibs+11stDibs+3Mia Karlova Galerie+3Mia Karlova Galerie+3

While the Voznickis' commitment to material authenticity and environmental themes is commendable, there is room for further exploration in diversifying their thematic repertoire. Expanding beyond the naturalistic and into more varied conceptual territories could enrich their oeuvre and offer new avenues for artistic expression. Nonetheless, their ability to transform traditional materials into evocative contemporary artworks underscores their significant contribution to the discourse on art, nature, and cultural identity.​Humoring the Goddess+1Studio Piet Boon+1

Visual Artist: Devan Shimoyama

via: shimoyama

Notes:

Devan Shimoyama's work stands out for its vivid portrayal of Black queer identity through a visually rich tapestry that blends the real with the surreal. His paintings often feature figures adorned with glitter, sequins, and jewels, an aesthetic choice that elevates the subjects from their canvas confines to a mythic status. This embellishment serves more than a decorative purpose; it acts as a narrative device that explores themes of masculinity, beauty, and pain. The use of such materials can be seen as a form of armor, protecting the vulnerability of his figures while simultaneously highlighting the resilience and flamboyance of the queer body.

Shimoyama’s exploration of these deeply personal and communal narratives is profound. In his works, the lush, almost tangible textures and vibrant colors create a magnetic allure that draws the viewer into a more intimate dialogue with the subjects. The settings and props in his paintings—barber chairs, flowers, and celestial bodies—work to build a narrative that is both otherworldly and grounded in everyday experiences. His ability to weave pain with triumph, and alienation with community, lends his paintings a complex emotional depth that challenges the viewer to confront their own perceptions of identity and empathy.

Critically, Shimoyama's oeuvre is a significant contribution to contemporary art, not just for its aesthetic innovation but for its cultural and social relevance. His work does not merely represent marginalized identities; it celebrates them, demands recognition for them, and offers a critique of the societal structures that attempt to suppress them. By intertwining the personal with the political, Shimoyama’s art speaks to a broader discourse on race, sexuality, and the ongoing struggle for visibility and acceptance within the art world and beyond. His continuing evolution as an artist promises further insightful and impactful contributions to these essential conversations.

- RJG

Visual Artist:

via: lovell

Notes:

Whitfield Lovell is an artist renowned for his deeply evocative use of historical imagery and found objects to explore African American identity and history. His installations and tableaux often incorporate beautifully rendered, life-sized charcoal portraits of anonymous African Americans taken from early 20th-century photographs. These portraits are paired with salvaged artifacts that resonate with personal and collective memories, such as vintage household items, personal belongings, and ephemera that suggest a narrative or context surrounding the individual depicted. Lovell's mastery in charcoal drawing brings a haunting, visceral presence to these figures, making them seem as if they might breathe and speak at any moment.

Lovell’s work is particularly compelling in its ability to bridge personal and historical narratives, inviting viewers to engage with the past in a deeply intimate way. By selecting objects that resonate with symbolic meanings—such as a pair of worn shoes, a military medal, or a faded letter—he creates a tangible connection to lives that might otherwise be forgotten. This layering of drawing and object invites contemplation on themes of identity, legacy, and memory, asking the viewer to consider the human stories behind historical artifacts. His installations not only highlight the rich texture of individual lives but also challenge the erasure of these lives from the broader historical narrative.

Critically, Lovell's art offers more than just a visual experience; it demands an emotional and intellectual interaction. The silent yet expressive faces in his drawings confront the viewer, their gaze suggesting narratives filled with resilience, dignity, and complexity. However, while the individual stories that Lovell hints at are compelling, they sometimes risk being overshadowed by the sheer aesthetic beauty and technical skill of his work. This tension between form and content is a central thread in critiques of his work, reflecting on how the allure of the medium can both highlight and obscure the profound narratives he seeks to tell. Lovell’s ability to balance these elements is a testament to his skill and sensitivity as an artist.

- RJG

Visual Artist: Tschabalala Self

via: self

Notes:

Tschabalala Self’s Bodega Run series, created at Two Palms, offers a vivid and energetic examination of contemporary urban life through the lens of the neighborhood bodega—a familiar, everyday site in many Black and brown communities. Self uses this series to merge figuration with abstraction, crafting bold, colorful compositions that emphasize the textures and materiality of her mixed-media approach. Through layered prints, painted surfaces, and collage elements, Self transforms the mundane into the monumental. Her figures, often exaggerated and assertive in form, dominate the space with presence and personality, reclaiming a sense of agency in environments that are frequently overlooked.

What stands out in Bodega Run is Self’s ability to fuse humor, sensuality, and critique into a single image. Her characters—often mid-stride or caught in the act of selecting items—embody a sense of autonomy and self-assurance. The bodega itself becomes both a backdrop and a stage for these moments of intimate daily ritual. Through her bold palette and stylized distortion of the body, Self challenges traditional representations of the Black figure, rejecting realism in favor of expression. Her use of collage also mirrors the layered, often chaotic visual language of bodegas themselves, where advertisements, products, and signage compete for attention in tightly packed spaces.

At its core, Bodega Run is both a celebration and a subtle critique—highlighting the cultural significance of the bodega while also suggesting the socio-economic constraints embedded within it. By elevating a commonplace experience to the realm of fine art, Self asks the viewer to reconsider the value and meaning of spaces shaped by working-class life. Her work resists simplification; it invites multiple readings and reasserts the importance of visual storytelling that centers Black identity and culture in all its complexity. The series not only reaffirms Self’s signature style but also demonstrates her continued commitment to capturing the nuances of lived experience.

- RJG

Visual Artist: Tony Cragg

via: cragg

Notes:

Tony Cragg’s sculptural practice is a testament to his deep engagement with material, form, and the relationship between objects and space. His works often take on dynamic, organic shapes that seem to defy the rigidity of the materials he employs, such as bronze, wood, stone, and plastic. By pushing the boundaries of these substances, Cragg creates sculptures that appear fluid and in constant motion, despite their physical solidity. His early works, often made from found industrial objects, reflect an interest in systems and accumulation, while his later pieces evolve into more refined, almost biomorphic abstractions. This shift showcases his ability to balance spontaneity with control, making his sculptures both visually striking and conceptually rich.

A recurring strength in Cragg’s work is his ability to engage with the viewer’s perception of volume and space. His sculptures often feature layers of overlapping forms, creating a sense of movement that shifts depending on the vantage point. Works like Points of View and Versus exemplify this dynamic, as their twisting and stacked structures create optical illusions, encouraging the viewer to navigate around them to fully grasp their complexity. This interplay between form and perception aligns Cragg with modernist sculptors like Henry Moore and Barbara Hepworth, yet his approach feels uniquely contemporary, often drawing parallels to scientific structures, cellular formations, or geological strata. However, while this fluidity is compelling, some of his later works risk becoming formulaic, as they repeatedly employ similar curvilinear stacking methods without significant variation.

Despite this, Cragg’s legacy as a sculptor remains formidable, particularly in his ability to transform rigid materials into expressive, almost living forms. His exploration of materiality and the way objects inhabit space has left a lasting impact on contemporary sculpture. While his work continues to evolve, a greater departure from his signature aesthetic could push his practice in new and unexpected directions. Nonetheless, Cragg’s sculptures remain powerful in their ability to evoke both natural and industrial landscapes, serving as a bridge between the organic and the manufactured world.

- RJG

Visual Artist: Mel Bochner

via: bochner

Notes:

Mel Bochner’s work is a provocative investigation into the intersections of language, perception, and materiality, making him a crucial figure in conceptual and text-based art. His early work, grounded in mathematical precision and systematic logic, sought to expose the structures underpinning artistic representation. Pieces like Measurement: Room (1969) used numerical data and spatial annotations to make the invisible act of measurement tangible, questioning the ways we quantify and define space. Over time, Bochner’s engagement with language became more explicit, evolving into his signature text-based paintings, where words—often colloquial, confrontational, or humorous—become both subject and material. His manipulation of typography, texture, and composition transforms written language into a visually charged, almost sculptural element, challenging traditional distinctions between image and text.

What makes Bochner’s art particularly compelling is his ability to balance rigorous conceptual inquiry with expressive materiality. His thick, impasto applications of oil and acrylic paste in works like Blah, Blah, Blah (2008) amplify the physicality of language, turning words into visceral, almost grotesque presences on the canvas. The aggressive texture and bright, contrasting colors inject an emotional and sensorial dimension into what might otherwise be seen as purely cerebral work. His use of synonyms, often arranged in cascading lists, exposes the instability of meaning and the slipperiness of communication. This linguistic playfulness, at times humorous and at times biting, reveals the contradictions and redundancies within everyday speech, pushing viewers to reconsider the ways language shapes thought and perception.

Despite the undeniable impact and intelligence of Bochner’s work, there is a risk that some of his later paintings verge on self-referential repetition, diluting their conceptual potency. The reliance on familiar word sequences and similar aesthetic strategies raises the question of whether his work continues to evolve or simply reiterates past successes. However, his lasting influence on contemporary art is indisputable. By merging language, humor, and material experimentation, Bochner has carved out a unique space where painting, philosophy, and conceptual art converge. His practice remains a vital exploration of how we construct and deconstruct meaning, compelling audiences to confront the power—and limitations—of words.

- RJG