Closing the Circle: Ernest Daetwyler


Ernest Daetwyler, Ice Bubbles

You can blow soap bubbles in the wintertime, and do it outdoors; it’s not just a summertime, outdoors thing. If you do it carefully enough, you can watch the completed bubble begin to freeze. But there’s a catch: the bubbles, alas, don’t last very long. Freezing creates cracks, and cracks allow trapped air to escape, and, well, you can figure out the rest. Continue reading

Tepantitla at the Broad


Field Station: Claudia Peña Salinas,installation view at the Eli and Edythe Broad Art Museum at Michigan State University, 2018. Photo: Eat Pomegranate Photography

There’s a purposeful tension between past and present in Claudia Peňa Salinas’s work.  Her installations evoke ancient Mexican history, but through the sparse language of minimalist grid-like sculptures reminiscent of Sol Lewitt.  Her site-specific works respond to the architecture of the gallery space, and her exhibition at the emphatically modern Broad Art Museum offers a re-creation of Tepantitla, a compound in ancient Mesoamerican city Teotihuacan.  Yet while evoking the ancient past, Salinas’s work also manages to speak to contemporary social issues. Continue reading

Too Close for Comfort


Memorial to a Marriage – Patricia Cronin and Deb Kass.
Photo courtesy of the Smithsonian’s National Portraits Gallery.

Sometimes you go to a museum to see one thing, and bump into another entirely unexpectedly.

A few months ago I went to see the recently unveiled Obama portraits at the National Portrait Gallery. It has become NPG’s practice that presidential portraits join their counterparts on the second floor, while the portrait of a first lady enters the hall of recent acquisitions. Just beyond the queue to see Amy Sherald’s painted portrait of Michelle Obama was another work of significance, lying in state: Memorial to a Marriage, by Patricia Cronin. The work depicts Cronin and her wife, artist Deborah Kass, nude on a bed, tastefully shrouded by a sheet. They rest in an embrace, Kass’s head nuzzled against Cronin’s neck, their toes touching. Continue reading

Luciana Rondolini – Nada es Para Siempre


FIN. Del Infinito. 2018. Mano con cadenas. Yeso, cadenas y perlas de plástico.

Formada en el Instituto Nacional de Arte (IUNA) en artes visuales, con talleres y clínicas de obra realizados con artistas como Hernán Marina, Fabián Burgos, Carlos Huffman y Elsa Soibelman, Luciana Rondolini tiene una carrera que se va abriendo paso sólidamente. Además, sus estudios incluyen programas y becas para artistas tales como el Taller Anti-proyecto de la Universidad Torcuato Di Tella (2011); la Primera edición de las clínicas curatoriales Fundación PROA (2014); Proyecto PAC, Prácticas artísticas contemporáneas (2016), todos ellos en Buenos Aires. Sus obras se exhibieron en galerías del exterior –especialmente USA- como The Mission Gallery (Chicago) y Fu art gallery (Miami) y localmente en el Museo Nacional de Bellas Artes, Fundación Proa, galería Miau Miau, el Centro Cultural San Martín, el Palais de Glace, Buenos Aires, entre otros. En 2012 fue finalista del Premio Petrobras Arteba y recibió el Premio en obra Barrio Joven por la Fundación Arteba, 2013 y participó en las Ferias Art Berlin Contemporary, Miami Project, Expo Chicago, Parc, Peru y Swab, Barcelona. Continue reading

How to Survive and Prosper as an Artist: Selling Yourself without Selling Your Soul

Early on in the newly released seventh edition of her How to Survive and Prosper as an Artist: Selling Yourself without Selling Your Soul (Allworth Press), Caroll Michels notes that artists may spend lavishly on supplies, equipment and studio space but not so much on what might help develop their careers, “such as travel, presentation tools, software, publicity and press relations, mailing lists, and such preventive medicine as engaging the services of professionals, such as lawyers, accountants, and career coaches.” Continue reading