An Interview with Kier-La Janisse
A conversation with editor, filmmaker, and author of House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films
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Cindy Ji Hye Kim
Death abounds in the work of Cindy Ji Hye Kim. The paintings evoke the funerary, mourning, and the physical death of the body, while the artist describes her process as something of a psychological journey towards ego death.
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Isabella Lovestory
Raw and stylish, sexy and rebellious
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Jennifer Carvalho
The past, the present, the future—it all flattens out into familiar but impenetrable relics.
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Mas Guerrero
Guerrero has managed to express the pure agony of simply having a memory. Think of anything and it is there.
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Frank Dorrey
Printed in Issue 21 Frank Dorrey’s world is one of colour and clash, an overly-saturated realm of sunburnt imagery evocative of that very 90s cocktail of low-quality and high-contrast, one part Hype Williams-directed “Gimme Some More” and one part children’s program animation. Frank makes his works using…
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Interview with Andrew Callaghan
Andrew Callaghan is drawn to annoying people like a moth to a flame. But partly maybe because he isn’t as immediately dismissive as the rest of us. He practices what he calls “radical listening” in his interviews, which is quite radical considering his subjects include Chet Hanks, the QAnon Shaman, attendees of the Hollywood antivax rally, a pickup artist bootcamp in Las Vegas, and numerous QAnon, Flat Earth, Conscious Life, and Bigfoot hunting conferences, to name only a few.
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The Future Isn’t What It Used To Be
High-design, “good taste” spaces are jarred by what is arguably their aesthetic antithesis—fantasy art. There’s an Ork in your Eames lounge chair, corrupting the seductive austerity of the moment, the minimalist fantasy of today’s most discerning consumer.
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Francesca Facciola’s One Trick Pony
I think everyone at one point has shared a dream with someone else.
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Narumi Nekpenekpen’s Angels with Dirty Faces
Breaking the mould of what we’ve come to expect from slab porcelain, far from a demure vase or an oat-colored dish, removed from any familiar hand-building process, Narumi Nekpenekpen’s sculptures look like if Bratz dolls had their genes scrambled with your morning coffee mug.
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Isabelle Albuquerque
Isabelle Albuquerque’s work is carnal, ritualistic, one part transhumanism, another part teratophilia
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Shelley Uckotter’s Trap Paintings
In the dark dark corners of a dark dark house, up in the rafters of cob-webbed abandoned buildings, on the creaky stairs of a haunted mansion, in the shadows cast by a heavy wood door rusting on its hinges, live Shelley Uckotter’s paintings.
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Petra Collins Visits Jenny Fax Studio
Petra Collins shoots Tokyo-based designer Jenny Fax studio
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Thomas Barger’s Furniture in Costume
If a chair can be camp, Thomas Barger’s chairs are camp. Despite being spotted in glamorous locations like the NYC Glossier flagship or the homes of in-the- know art collectors, Barger’s process is a humble one: he finds recycled paper and blends it into a pulp, then applies it to ordinary chairs to convert them into something new and extraordinary. His is furniture in costume, utility transformed, like chairs playing house.
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Will Sheldon Trouble After Dark
A cob-webbed clearing in a dark forest hosts shimmering pink daemons. The work presented in Will Sheldon’s solo show, “Trouble After Dark,” digitally on-view at Team Gallery until May 30th, is like The Nightmare Before Springtime, a world glittering in its own dew as death coagulates into life.
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Sara Cwynar’s Marilyn
Marilyn Monroe’s body, a reclining nude in a classical painting, a model from an online shopping site—Sara Cwynar is known for reassembling objects of desire. Symbols of beauty are presented here, in the artist’s solo show, Marilyn, just as they are in advertising, stressing an important through-line in the two worlds and in the affects they produce. Cwynar’s project is in surveying the object-life of visual matter, pulling focus on the bizarre ephemera of commercial goods, and in doing so offering a feeling of desire that leads not to a check-out, but only back to itself.
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Susan Cianciolo’s Spirit Guides
Susan Cianciolo has been looking inside herself, searching for the joy and humanity in the quotidian, long before a time when we were all at home, driven by stress and confusion to get crafty and spiritual. And the fruits of her work are collected here, in her decade-spanning survey, “Spirit Guides: Paintings 1990 – 2020,” at Bridget Donahue. With works that are experienced like diary entries or scrapbook pages, corkboard collections of memories and moments, Cianciolo offers sketches of everyday divinity, of small joys and moments of peaceful self-exploration.
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Chelsea Culprit’s Nocturnal Chimeras
Published in Issue 19 Elastic Chimeras Unbound and Regenerating, 2019, Lulu Gallery Chelsea Culprit’s work is dedicated to the motion of women, in particular the motion of work, and how labour transforms the body. Her paintings explore the female nude as it becomes classed and…
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