Author: Dominic Zaffino
Natural Hauntings: A Return to the Creaturely
“Humans,” art historian Glenn Peers contends, “have slipped into a modern faith in knowingness that thinks it exceeds the scale and complexity of our world…, blind[ing] us to other human possibilities.” The statement embodies the recent artworks of Pakistani multimedia artist Huma Bhabha in her 2024 exhibition entitled, “Welcome…to the one who came.” Primarily a
Transcending Boundaries: A Mother’s Work
Referencing his mother’s passing in 1992, Nathaniel Mary Quinn’s “aim as an artist [was] to make a work that [was] so palpable and so dynamic and so incredibly felt that [his] Mom could literally walk off the surface of the canvas and back to life.”[1] The result was Untitled (Portrait of the Artist’s Mother) from
A Painfully Honest Portrayal of Beauty
Tracey Emin, Like A Cloud of Blood, 2022, acrylic on canvas, 59 7/8 x 71 5/8 in. (152 x 182cm) The difficulty in comprehending Tracey Emin’s Like A Cloud of Blood (2022) is the paradox of witnessing a disappearing figure coming into being. In Emin’s painting, an incomplete and empty body lies isolated in curled
A Patriotic Reflection of a Broken Image
The nature of quilting implies a coming together of disparate elements to create a pleasing and cohesive whole. Rachel Clark’s quilt, These Colors Should Run, utilizes these formal qualities to reimagine the American flag, conveying an unsettling and paradoxical image of a nation in disrepair. Clarke is a Professor at Syracuse University’s School of Information