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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Related Press

Richard Artschwager: Primary Sources and Self-Portraits and the American Southwest

Robert C. Morgan The Brooklyn Rail First published on 13 February 2019

Richard Artschwager, Tintoretto's "The Rescue of the Body of St. Mark" (1969). Acrylic on Celotex, in metal artist's frame. 46 1/2 x 51 1/4 inches. © 2019 Richard Artschwager / Artists Rights Society (ARS), New York. Courtesy Gagosian.

While critics have argued that Richard Artschwager was an artist whose works alternated between Pop, Minimalism, and Conceptual Art, there was little doubt he possessed his own singularity removed from the fray. Whether he chose to work with bewildering banal subject matter or media references to sex and violence, Artschwager maintained the position that he would continue to paint and construct whatever he chose to do.

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