In one series, she considers issues of spectatorship at the Los Angeles Zoo. Box Stall (2013) shows the back end of a horse, highlighting what is included and excluded from the frame of vision.
Davida Nemeroff turns her camera toward scenes from everyday life, creating compositions within the frame of her lens that are strong, even introspective. She locates herself as a spectator, and is invested in a way of seeing that is simultaneously meditative, pedestrian, and intensely physical. A subtle yet anxious beauty comes across in her work. Focused in many ways on formal concerns of the photographic medium, Nemeroff takes on questions of sight and looking.
Easy to fold and carry, Jorge González’s Banquetas Chéveres (Chéveres Stools) embody the nomadic and flexible nature of the Escuela de Oficios...
Cities are the heroes in an 'easy-going and unpreachy' publication that takes us on whirlwind tour of art history Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Books review Cities are the heroes in an 'easy-going and unpreachy' publication that takes us on whirlwind tour of art history Fifteen art capitals are captured at their brilliant apogee in Caroline Campbell's book Keith Miller 6 February 2024 Share Detail of Hungry Ghosts Scroll (late 12th century) by an unknown artist Kyoto National Museum The last book I reviewed with this title was by the historian Simon Schama...
Pandemic in the Philippines: A cultural sector on its own | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles August 17, 2020 By Katrina Stuart Santiago (2,200 words, 8-minute read) When I was first asked to write about “cultural leadership” in the Philippines, I turned up a blank...
Our Grandmothers’ Gardens by Olga Grotova is based on the history of Soviet allotment gardens, which were small plots of land distributed amongst the families of factory workers to compensate for poor food supply in a country that was over-producing weapons...