For his debut solo show Literature, at Steve Turner Gallery, Kevin McNamee-Tweed presents a collection of diverse, multimedia works. Many of these works share the same fragmented qualities of the aforementioned examples—autonomous pieces of an imagined whole. Hooded figures, a mushroom, clutching hands, a whirring, yellow fan—all cast in roles across relief sculptures, paintings, and glazed ceramics.
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Fiona Duncan has a knack for plucking just the right detail for each frame, and the novel benefits from the otherworldly voice that appears in all her work: her celebrity profiles, artist interviews, spiritual reportings, her diary-essays or cultural commentary. In the novel she thunders and weaves enlightenments on the complicated frilliness of girlhood, walking the radioactive sunsets of LA, wading through a warbly love affair. It’s a balm on an internet-addled brain that searches instinctively for a linear trajectory to grab onto. This book presents other options. Resolving things is not the point.
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While advances in technology have finessed the quality of images that populate our channels of observation, no matter how HD an image, zoomed in it’s still pixels. This phenomenon is echoed in the work of artist, Jenny J. Lee. Cold Turkey, presented by Lulu, features small-scale works in large spacious rooms and echoing hallways. The works are painted on jute—its sizeable, open teeth parrot the topographic aesthetic of pixels. A stack of tires, a pile of pumpkins gnarled with edemas, an old stone facade overgrown with ivy—snapshots that echo the banality of image production heighten this digital aesthetic by virtue of its paradoxical, traditional execution. If you look closely, how clearly do you really see?
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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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We’re thrilled to present our first ever in-house horror movie, Cover Girl. Follow beautiful model Sofia on her terrifying journey to be the next Editorial Magazine Cover Girl. This film explores the horrors of the fashion industry, and the often demonic forces behind indie print mags. Starring…
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Moving from the bedroom to airplanes, bed bugs have found a new home. A cheaper alternative to sugar, high fructose corn syrup increases the risk of fatty liver disease, obesity, inflammation, and diabetes. Tyler Thacker’s foray into hyper-realism offers an insidious snapshot of the hyper-ominous afterglow of a contemporary zeitgeist’s shelf-life in a capitalist system. Halloween is always a little frightening, sure, but what’s truly terrifying are the reverberating specters of consumers navigating globalization: aka each one of US! Itching, scratching and gouging our way toward an uncertain future.
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Stream of consciousness—Joyce’s pioneering practice of depicting an uninterrupted flow of a character’s thoughts, feelings, and reactions—seems to have inspired several of Wei Wei’s works. A stream of consciousness, fervor and melancholy, dribbling and splashing onto the canvas after a thaw. Harlequin spectres in cream and muted peach, the neatly angular folds of a pansy rendered in denim blue—murky phantoms of intimacy haunt the shadows of a revery in these large-scale paintings. To immerse yourself in This Golden Yesterday’s Sleep Upon the Iris is just as Joyce put it—to think you’re escaping only to run into yourself.
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Delphine Henelly’s paintings connote the Elizabethan era as much as they remind one of thumbing through the brittle, faded pages of an old comic book—misaligned, pointillated and ink splotched. Characters wander the pastoral landscapes, idle hands plucking fruit from trees or caressing the shoulder of a loved one.
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Ed Emshwiller’s prolific, avant-garde, and under-recognized body of work spans hundreds of sci-fi book covers, early computer animation, and dance. His 1979 video art piece Sunstone is an example of early computer animation. The video is playful, a smiling sun loses it’s tongue only to…
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Lauren Satlowski proves again her masterly over light, casting each figure in an unearthly glow. A Hollywood home undergoing a visitation, a woman realizing something is terribly wrong – the feeling that Satlowski’s choice of subjects is random only drives harder at the mystery within them. Satlowski’s paintings feel nightmarish, like something we weren’t supposed to notice, a blip in reality.
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There’s something that’s at once sterile and somadic about the concept of outer space. To be rocketed upward, isolated in a tiny vessel, piercing the belly of the sky and penetrating the atmosphere. The same such tension is present in Joan’s World, a solo exhibition from LA-based artist, Jen Shear. Steel walls and ceramic tiled floors are the foundation to Shear’s interdisciplinary works, creating an environment that synthesizes industrial aesthetics with the human hand. Shear’s collage pieces function as remembrances—including tokens, ephemera, and patterns, often repeating like morse code. A snapshot, or message, maybe meant for someone far off in the multiverse.
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A two page comic by Cole Kush published in Issue 19 which documents a pub crawl. See more of Cole’s animations HERE.
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This is a note for Martha Nelson Thomas, RIP. Written by Claire Milbrath
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Kim’s compositions have all the equations of a blockbuster: Cults! Perversion! Sex! Schoolgirls! One ticket, please! At Foxy Production, sculptural puzzles made of wood are built into the stretchers of two paintings hanging from the ceiling in the middle of the room, like little easter eggs holding up the canvas. The subject matter of the two shows can be split into four categories: starlets, theatre sets, workers, and voyeurs. The starlets and voyeurs entertain, while theatre sets and workers elicit the feeling that we’re being granted a behind-the-scenes look at the world Kim has created—and implicated in it.
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Photos by Val Myroneko Styling by Marina Nedic We’re excited to release a new mix from Toronto DJ & producer Bambii, aka Kirsten Azan. The mix is called Físico Sauve which translates to “soft physical” in Portuguese. Committed to sharing a robust variety of genres from…
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One of the most important political stories in 2018, I think, was the stripper strike in New York City. By which I mean to suggest that strippers are often not legible as agents of politics.
By which I mean to suggest that when New York strippers were photographed by Jonathan Turton for Dazed Digital in March, alongside a feature, it could never be enough, however stunning. Red fishnets, immaculate weave, see-through platform heels, leather whips, acrylic middle fingers in the air, plastic cups with drinks half full—the accoutrements of performance (which index not actual lives but imagination and fantasy) carry stories uncapturable by the average camera, no matter how hard technologists try.
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Melissa Juratowitch stars in Kurt Johnson’s homage to Ryuko Azuma’s Doorknob Girl—does it turn you on? But it’s only a doorknob!
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Published in Issue 19 Interview by Claire Milbrath Images courtesy of the artist and Anton Kern Gallery I asked Julie Curtiss for an explanation of the four recurring symbols that make a painting a Julie Curtiss painting: hair, cigarettes, fingernails, heels. To say her…
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