For Esmaa Mohamoud, growing up as the only girl between two older brothers and two younger ones, an engagement with sports was inevitable. A self-described tomboy, she played sports like a boy, wore a jersey, was a Raptors fan who admired Vince Carter and wanted some of his magic for her own. Keep Reading
The Irrepressible Art of Tschabalala Self
Tschabalala Self is very clear, very focused, very persistent. She says, when queried in the interview that follows, “My work is all about figuration. It’s all about people, lives, lived experiences.” She says, “The main subject of my work is the Black woman, and I care for Black women and I also care about the reputations of Black women as they exist in the real world and also in the collective imagination.” Keep Reading
The Art and Mind of Gedi Sibony
A piece of used carpeting measuring 100 by 74 inches, with white paint or primer on the surface, doesn’t add up to much unless you read the marks and find there a representation of the Annunciation in one of its many iterations. Think of 14th- and 15th-century paintings by Fra Angelico, Botticelli, Leonardo da Vinci. Two figures in profile, the angel, often on the left, carrying the divine message, and on the right, the humbled, astonished recipient, seated or kneeling. Keep Reading
The Art of Cliff Eyland
Cliff Eyland is an art-world Imp of the Perverse. In Edgar Allen Poe’s formulation, the imp was “an innate and primitive principle of human action, a paradoxical something, which we may call perverseness.” The fit is a good one, as long as you understand that the term primitive has nothing to do with a lack of sophistication. It comes closest to meaning ungoverned, or, more accurately, ungovernable. As he says in the following interview, his attitude has never been to get people to accept his work, but rather, “try to stop me making this stuff.” Keep Reading
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