Tod Lippy

  • Henry Shum, Maar, 2022, oil on canvas, 78 3⁄4 × 52 3⁄8".

    Henry Shum

    The process of falling asleep has been described by scientist Nathaniel Kleitman as dormiveglia—a succession of intermediate states, “part wakefulness and part sleep in varying proportions.”

    While this transition manifests differently in each individual, here’s how I experience it: With my eyes closed, I wait for an image to appear. It’s nothing I will into existence, but rather something that materializes gradually on its own terms—a faint, glimmering outline of another person, a distant landscape, an undulating abstract form—charged by the shimmering phosphenes generated by my retinas. As I “

  • Mary Mariq Kuutsiq, At the Fishing Weir, 1994, wool duffel, felt, embroidery floss, 37 × 55 1⁄2". From “Nivinngajuliaat from Baker Lake.”

    “Nivinngajuliaat from Baker Lake”

    Felt has played a key role in the practices of a number of contemporary artists, from Robert Morris to Rosemarie Trockel. But for indigenous populations in cold climates around the world, this material—made by rolling, beating, and pressing animal hair or flocks of wool into a compact mass—has been essential to survival. In “Nivinngajuliaat from Baker Lake,” an exhibition at the Winnipeg Art Gallery (which hosts the largest collection of Inuit art in the world), a group of fifteen Inuit wall hangings composed primarily of wool felt with embroidery floss stitching manage to imbue this traditionally

  • Nat Meade, Breeze, 2018, oil on hemp, 24 × 18".

    Nat Meade

    “With my kid on my shoulders I try / Not to hurt anybody I like . . . / I defend my family with my orange umbrella / I’m afraid of everyone.”

    The National’s 2010 song “Afraid of Everyone” evokes the conundrum of being a self-aware male (and a father) in a moment when masculinity, and gender overall, is under a microscope. The theme is one that permeates many of that indie band’s most resonant songs, and it informed the work of Nat Meade in this breakthrough solo show of paintings.

    The men depicted in these fourteen works were simultaneously heroic—the geometric, angular faces of several invoked