reviews

  • Chantal Joffe, My Mother in a Blue Shawl in her Doorway, 2020, oil on board, 72 × 47 1⁄4".

    Chantal Joffe, My Mother in a Blue Shawl in her Doorway, 2020, oil on board, 72 × 47 1⁄4".

    Chantal Joffe

    Victoria Miro Gallery | 16 Wharf Road

    Yes, it’s true, mothers are people too. “Most of the literature of infant care and psychology has assumed that the process toward individuation is essentially the child’s drama, played out against and with a parent or parents who are, for better or worse, givens,” writes Adrienne Rich in the 1976 study Of Woman Born: Motherhood as Experience and Institution. “Nothing could have prepared me for the realization that I was a mother, one of those givens, when I knew I was still in a state of uncreation myself.” Almost half a century later, in writing, art, and film about motherhood, the experience

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  • Matt Bollinger, Between the Days, 2017, painted stop-motion animated video, color, sound, 18 minutes.

    Matt Bollinger, Between the Days, 2017, painted stop-motion animated video, color, sound, 18 minutes.

    Matt Bollinger

    mother's tankstation | London

    The blistering Kansas City sun was a central protagonist in Matt Bollinger’s exhibition “Collective Conscious,” joining a cast of characters that also included Candy, a middle-aged woman alone in her shadow-filled living room in the painting Daytime Soaps, 2020, and Carolyn and James, a mother and son observed in the stop-motion animation Between the Days, 2017, as they go about their soul-numbing daily routines. Toward the beginning of that eighteen-minute-long work, the pearly glare of Midwestern morning sun gently spreads over a car window before James arrives and drives to work, as he does

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