The Changing Language of Tracey Emin’s New Paintings
Tracey Emin’s new paintings, recently exhibited as part of the exhibition “A Fortnight of Tears” at White Cube, London, reveal an uncommon depth of feeling. Yes, her art in all its many media has always been emotionally demonstrative; you always knew what was on her mind—the passions of desire, abandonment, pleasure, revenge, or whatever was at stake in any given piece—and the work declared the feeling… Keep Reading
Lee Ufan is associated with two of the most important currents in the Asian art of the last half-century: Mono-ha or the “school of things” in Japan (as a participant and theorist); and (as a promoter and fellow traveller) Dansaekhwa or Korean monochrome painting—a “movement” that was recognized as such only in retrospect. But as with most outstanding artists, Lee has mostly gone his own way, and the only movement that’s been entirely relevant to his work has been the movement of his own thought. Not only a painter and sculptor but also a critic and theorist of art—his collection of writings in English translation, The Art of Encounter, 2008, is well worth seeking out—Lee was born in Korea in 1936, and in 1956 went to Japan to study philosophy (with a particular interest in phenomenology). He’s remained there since, though later spending part of his time in France as well. Keep Reading
Haven’t found what you're looking for? Explore our index for material not available online.