Gabrielle Teschner on Why Being an Artist Is a Job You Can’t Lose

Gabrielle Teschner’s signature “Sculptures-That-Are-Flat” are made of individually painted planes of muslin that are stitched together, then ironed. Their scale ranges from hand-held (called ‘Minutes’ and measuring around 7x10 inches) to environmental, monolithic (up to 16x14 feet). Employing the symbolic and physical language of architectural forms, spatial relationships, and, often, weather patterns, Teschner explores dichotomies, concepts of strength and softness, force and flow, and phenomena of perception, among other impulses and ‘attractions,’ as she calls them. All of these are a way of understanding and questioning what it is to be in the world.
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Nathalie du Pasquier is So Much More Than the Poster Girl for Memphis Design

When a return to Memphis became the defining design trend back in 2014, a few of the movement's original members flew to the forefront of discourse once again, among them Peter Shire, Ettore Sottsass, and Nathalie du Pasquier, whose exuberant patterning became a kind of shorthand for cool around that time. (If you came home from Milan in 2014 without an NDP Wrong for Hay tote bag, were you even there?) But while Du Pasquier became pigeon-holed for that kind of blocky, frazzled look (remember when she designed for American Apparel?!), she's always been so much more than that, and the full fruits of her output as an artist are on view this month at an exhibition called "Speed Limit" at Anton Kern Gallery in New York.
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Daniel O'Toole Modern Times

Daniel O’Toole’s New Gradient Works Provoke a Distortion of the Senses

"Can an image feel as though it has a sound frequency embedded in it?" That is the question animating Australian artist Daniel O'Toole's latest exhibition at Modern Times, which closed this week in Melbourne. Called Cascade Rumble, and inspired by O'Toole's own experience with synesthesia, the exhibition features works that are intended to fully engulf the viewer and to "hum a frequency of sound that resonates in the mind."
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In Her Paintings, Becky Suss Creates Real or Imagined Interiors From Memory

Because we don't cover art as our primary discipline here at Sight Unseen, we typically discover artists a bit more slowly than we do designers, and usually by way of gallery shows, art fairs, or Instagram wormholes. But I discovered Philadelphia-born painter Becky Suss in perhaps the most Sight Unseen — or at least the most me — way possible: Her 2016 painting, August (above), adorns the cover of LA harpist Mary Lattimore's Hundreds of Days, one of the many albums that helped propel me through the emotional black hole that was 2020.
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The Old is New in Gippeum Roh’s Still Life–Inspired Paintings and Ceramics

Gippeum Roh’s paintings have the flattened perspective of Cézanne’s apples, the muted color palette and tight interlocking composition of a Giorgio Morandi still life, and a hint of the sensuousness of Georgia O’Keeffe’s flowers and landscapes. Asked about the source of her visual repertoire, Roh says, “My painting is about the everyday things that I bring to my studio. I collect things and place them, just as in the long tradition of still life painting. Light and shadow; natural, cool or warm light play an important role in revealing the appearance and essence of objects.”
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Frieze Art Fair 2021

Our 15 Favorite Artists From This Year’s Hybrid Frieze Art Fair

In my ideal, art-through-a-design-lens, pandemic-less world, Frieze — and other fairs like it — would show a more equitable mix of two- and three-dimensional works, the artists themselves would be on-hand to speak about their process, and we would all be taking a gloriously sunny ferry to Randall's Island instead of hanging out in the shadow of a failed mall in Hudson Yards. That said, there was plenty to like about this year's fair.
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Caroline Denervaud’s Paintings Are a Dialogue Between Art and Dance

It was French artist Yves Klein who, in 1960, first used women’s bodies as canvases, covering them in blue paint to study the impressions they made on paper, while an orchestra played on. Swiss-born multi-disciplinary artist Caroline Denervaud’s vibrant, abstract artworks recall Klein's pioneering performative work, and also comprise the emotionally raw, humanistic approach to movement as seen in the works of visionary German dance choreographer Pina Bausch. “She was the first person who inspired me,” recalls Denervaud.
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Week of April 26, 2021

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: Yves Klein–inspired mirrors by Ben and Aja Blanc, a multi-colored Dims chair remix by Dusen Dusen, and the latest purveyor of high-quality affordable art to catch our eye (above).
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Stacey Rees’s Abstract Female Portraits Capture a Moment of Inner Contemplation

In her previous works, the Australian painter Stacey Rees seemed to be captivated by the strange and modern notion of the selfie. Her portraits explored the idea that people can define their self-worth by the public face they show to the world and that people can, in fact, manipulate those images for a better outcome. What comprised the inner life of those who swore by such digital machinations, she seemed to ask? In her new body of work, which was on view this month at the Sydney gallery Saint Cloche, Rees appears to sink even deeper into the stillness of contemplation.
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Hannah Nowlan Tatsiana Shevarenkova

In a New Exhibition, Abstract Paintings and Anthropomorphic Vessels Pair Perfectly

In ballet terms, a pas de deux is a duet. Two dancers perform a sequence in such perfect, excruciating synchronicity that it appears they are, for the fleeting moments they inhabit the stage, two halves of the same whole. This kind of creative coupling is what curator Kitty Clark had in mind when she put together her latest show, Soul Bed, featuring painter Hannah Nowlan and ceramic artist Tatsiana Shevarenkova, which just opened its doors at Saint Cloche Gallery in Sydney, Australia.
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A Caesar Salad Chandelier is the Centerpiece of This New Exhibition

At her new gallery show, Thank You For The Nice Fire, Chloe Wise employs food to great, grotesque effect: The show's centerpiece is a Caesar Salad Chandelier studded with croutons, its urethane romaine lettuce leaves fanning out like rococo paillettes, its milky "dressing" dripping into a puddle on the gallery floor below. Atop glass block plinths, there are thick mounds of waxy butter, punctuated by ears of corn; in one painting, a bodiless hand appears to want to plunge its fingers into a pile of garlic.
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