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Tag Archives: Volume 35 no. 1 September / October 2020

Volume 35 no 1 September / October 2020

Features: 6 An American Child and the Victorian Radicals – James Cassell 9 Intimate Art – Daniel Nanavati 11 Utah can be the Art Scene of the West – Alexander Stanfield 13 In response to Darren Jones on the Whitney Biennial – Al Jirikowic 15 Chairs, Tables and Sex – Frances Oliver 16 Defund the Police, Refund the Arts – …

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Volume 35 no 1 September / October 2020: Editorial – When Politics and Sculpture Collide

Margaret Lanterman Art as political and social comment has a very long and effective history, but the artist’s intent and the message of the work has often been abused for political ends. This repurposing can happen well before the art is installed, or long after. Public sculpture monuments are not a simple thing to discuss because they are seldom just …

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Speakeasy: How Artists get on in the World

Years ago I started to keep a note on the details in artists’ biographies recording who their parents were, their wealth, etc. Most were well off and many had a parent or spouse who was already an artist. Others married their success. Anna Boghiguian, who had a big solo show at Tate St Ives, was described by The Telegraph (a …

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Intimate Art

by Daniel Nanavati Let’s talk sex in the art world. Not the male predilection for the female body, from painting to having sex with models, but as a bona fide trade that defies our society’s efforts to create a meritocracy. I thought of this piece when reading Mary Fletcher’s Speakeasy, which appears in this issue, realising that she had not …

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Utah Can Be the Arts Center of the West, But It’s Not There Yet

Alexander Stanfield Utah isn’t known for its arts scene – aside from a couple of collectives, a handful of museums, and an occasional festival, Utah lacks much of the appeal held by the art juggernauts in the States. Unlike those heavy hitters, tourist art is a big player in Utah’s art market; the prairie/mountain landscapes or the oversaturated prolonged exposures …

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Chairs, Tables and Sex

Frances Oliver As I begin to read a review* in my favourite magazine, The New York Review of Books, I am caught up short by the following: “… Gessen’s credentials as an observer of autocracy are impeccable. Aged fifty-three, they (Gessen identifies as binary) spent their childhood …” Who are they? Oh of course – binary – they is/are Gessen …

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Defund the Police, Refund the Arts

Viktor Witkowski I call the United States my home. Poland is my native land and Germany my homeland. In the current political situation in the U.S., where one political party has abdicated responsibility, I find myself looking to Europe for answers and possible solutions. In the USA the pandemic and its volatile virus have been declared Democrats by the administration …

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The Presence of Painting

by Steven Carrelli A year ago this month my wife Louise and I sat at the kitchen table of our friends Adam and Charlene Fung in Fort Worth, Texas, and we played a game called Pandemic. It is a cooperative game in which each player has a different specialty, and their task is to work together to stop a global …

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The Origins of Art

Anthony Viney Why is visual art produced by people and not normally by animals? (We know that elephants and chimpanzees can and do create interesting art in captivity but not, as far as we know, in the wild.) When did human beings start to create art, and what environmental, physical and neurological changes happened to allow us to do this? …

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Against Racism, Against Sexism, Against Ageism

    In a local comic strip,  a child chastises his shamefaced father for never having done anything to change the name of Toronto’s Dundas street; the father didn’t even known that Dundas was a racist oppressor.  But then,  why pick on Dundas? In the 18th century all British aristocrats were racist oppressors.   As were Japanese aristocrats, and so were  …

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Once Upon an Outgoing Tide

Miklos Legrady Bruce Barber defined the notion of littoral as “the intermediate and shifting zone between the sea and the land”, which “characterizes works that are undertaken predominantly outside of the conventional contexts of the institutionalized art world.” One example was his project ‘Diddly Squat: Three Works about Money’, performed in Toronto in November 2002. I’ve made littoral works myself …

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The Bahnhof is an Installation in Itself

by Christian Hain Quite unexpectedly, a visitor’s first thought upon entering Katharina Grosse’s single–work show at Hamburger Bahnhof Museum might be: ‘Underwhelming’. That’s remarkable, because the German artist is known – and very well known, being represented by some of the best multinational powerhouse galleries – for ‘in your face’ artworks that are as powerful as they are colourful. You’d …

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Venice – Not only the Biennale

by Liviana Martin   I spent a weekend in Venice after the lockdown to rediscover art galleries and artists’ studios that are finally reopening, or are under refurbishment. I visited the historic and prestigious Contini Gallery; founded by Stefano Contini in 1979, it has three offices in Venice and one in Cortina d’Ampezzo. Over the phone the gallery owner tells …

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Looking Out Over the Cornish Riviera

by Pendery Weekes Once again Monsieur Marcel Grenouille from Nantes has done his good deed for the day and has included an unknown artist in the summer Art Festival 2020 at Port Pierre Canto Marina in Cannes. This year the unknown is Freya Stephan with her painting, Looking Out Over the Cornish Riviera. It was picked up by Grenouille while …

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