Joseph Henry

  • picks October 11, 2019

    Ingrid Wiener

    The institutional revisionism of figures including Anni Albers and Ruth Asawa seems to suggest that textiles have been permitted entrance into the holy vault of acceptable art-historical media. Yet as Julia Bryan-Wilson maintained in her 2017 book Fray: Art and Textile Politics, the discursive latency of textiles and other crafts is precisely to scramble such divisions between fine and applied, high and low, professional and amateur, while rebuking and exploiting gendered notions of making. But a latency is just that—a possibility—until we have eye- or stitch-opening instantiations such as Ingrid

  • picks January 22, 2019

    Pierre Puvis de Chavannes

    By the time painter Pierre Puvis de Chavannes died in 1898, he had become all things to all people, like a Max Beckmann or a Giorgio Morandi. French Symbolists viewed his archaizing classicism as singular in its sparse dreaminess, while French academicians saw in Puvis the continuation of an edifying, restrained painting tradition. As the art historian Jennifer L. Shaw has noted, Puvis made his most prominent works—large-scale murals in hallowed institutions such as the Sorbonne in Paris—when the country fissured between a syndicalist left and nationalist right. Today, then, Puvis’s contribution

  • picks November 21, 2018

    Virginia Jaramillo

    Virginia Jaramillo’s show is billed as a return to painting on canvas, which she stopped doing in 1979 in order to investigate other modes of artmaking. But the eight acrylic-on-canvas works in “Foundations” examine the logic of reliefs, or even papier collé. In these “Sites” (all works 2018), Jaramillo superposes oblique planar forms in solid matte colors. The thinnest protrusion of impasto along every contour makes the surfaces feel built up or pieced together. This nearly sutured sense of composition differentiates the current body of work from Jaramillo’s earlier painterly efforts of the