Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .
After structural issues forced The Armory Show into last-minute relocation pirouettes last year, the fair returns between 5 and 8 March 2020 with a flourishing programme, complemented by stand-out shows across New York City.
For her second solo exhibition at Thomas Dane Gallery in London, Ella Kruglyanskaya's compositions signal the many possibilities of paint.
Catherine Sullivan was born in 1968 in Los Angeles and lives and works in Chicago. In 2015, along with George Lewis and Sean Griffin, she presented Afterword, an Opera at the MCA Chicago. She has had solo or collaborative exhibitions at the Reva and David Logan Center for the Arts, Chicago; STUK Kunstencentrum, Leuven; Walker Art Center, Minneapolis; Tate Modern, London; Secession, Vienna; and Kunsthalle Zurich. Additionally, her work has been featured in group exhibitions at the Institute of Contemporary Art, Philadelphia, and the Museum of Modern Art, New York. Sullivan participated in the 2014 and 2004 Whitney Biennials, the 11th BALTIC Triennial of International Art, and the 7th Gwangju Biennale.
Text courtesy Metro Pictures.
Catherine Sullivan 's artistic practice crosses genres and histories of art, theatre, movement, and performance, with poetry, literature, sound and popular culture, taking the actor as medium in the process. A former actor herself, Sullivan attended the California Institute of the Arts and the Art Center College of Design where she studied under...
Catherine Sullivan is a Chicago-based artist whose films and installations have been shown only spottily in New York, and we're the poorer for it. The last piece of hers I saw was Triangle of Need (2007) at Metro Pictures, and that was more than 10 years ago. (Somehow, her 2016 collaboration with the composers George Lewis and Sean Griffin...
When asked about the significance of the lighthouse in To the Lighthouse (1937), Virginia Woolf replied that it represented 'nothing'. 'One has to have a central line down the middle of the book to hold the design together' she wrote. Exemplary of mid-20th-century literary Modernism, Woolf's novel conjures a disorientating stream of...
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