I just had to say something about this. Fortunately, I got talked to some friends about it as well.
Read Morecriticism
A Surface of Sex... Mario Testino at MFA Boston
These Testino photographs really make you appreciate the genius of Helmut Newton.
Read MoreI think when the rules change, you SHOULD take your ball and go home....
Bye Dave!
Read MoreJust like heaven... Kerry James Marshall's UNTITLED at the Sackler Museum
“Heaven/Heaven is a place/A place where nothing/Nothing ever happens”
Talking Heads
Sex and the painted city.... Daniel Rich at the MFA Boston
I know you probably don’t believe me, but Daniel Rich makes really sexy pictures. Of buildings and file servers.
Read MorePainting the space between... Susanna Coffey at Alpha Gallery
One of the best painters I know. Her work is a touchstone for my entire practice.
Read MoreNostalgia isn't what it used to be.... Ori Gersht at MFA Boston
This work is freaking big.
Read MoreARTCORE Journal - William Cordova at the Mills Gallery at the Boston Center for the Arts by Steve Locke
My essay on the amazing William Cordova exhibition that was at the Mills Gallery at the Boston Center for the Arts, courtesy of artcore journal, founded and edited by Erin Dziedzic in collaboration with Gregory Eltringham.
William Cordova at the Mills Gallery at the Boston Center for the Arts by Steve Locke.
artcore journal is an edited online contemporary art journal published biannually. The journal seeks to establish a broad range of responses to contemporary art and curatorial practice from varied spatial perspectives. artcore journal presents a broad range of informed written texts, art works and curatorial initiatives. Each issue welcomes creative and critical responses to a theme as a way of establishing an intertextual network postulating on ideas concerning space in contemporary art discourse.
"Imaging Lazarus" essay included in the SUPERNATURE issue of DRAIN
Imaging Lazarus: The Undead in Contemporary Painting
I want to avoid the obvious discussion of painting being dead. It’s not. Rather, painting has been killed several times and has been brought back to life by a certain kind of belief, or faith in it. This faith sustains painting as a practice, but recently there has been a kind of representation of the body, the “undead” body in painting that I think has a lot to do with the history of painting, but an attempt to re-inscribe the art in general and body specifically as a site of political agency.
It bears an investigation of the story of Lazarus to get a sense of what I am talking about here. The tale is found in the Gospel of John. Many people focus on Jesus’s act of raising Lazarus from the dead (he had been entombed for four days) as a pre-figuring of his own resurrection. It is that, no question. But there are other elements of the story that I think are often overlooked.
Please visit the DRAIN site to read the rest of the essay. Click HERE.