Tom Prochaska distinguished himself in many mediums: He was a masterful printmaker, an intuitive painter, a builder of papier-mâché figures, a creator of fused glass panels, and graphite-on-paper drawings.
Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.
Upon entry, Kent's "IF" (1965) lures the eye upward. The serigraph-a silkscreen print in fine art parlance-hangs high on the wall with a subtle vulnerability. Two orange letters hover toward the composition's top edge, as if pushing to transcend the picture plane. A feeling of possibility emerges through the conjunction and its visual form.
The truth is that I am mentally unwell. Despite this, I have pushed myself to continue with touring. As a result my mental health has only further declined. After discussions with my team, we have decided to cancel the remaining shows and take an indefinite hiatus from live music.
Held in late January, Toronto's design week practically dares design-lovers to prove their devotion. At this past edition, they braved not only the below-zero temperatures but also a historic snowstorm; part of the weather pattern that saw the U.S. draped in the white stuff, Toronto was hit with 22 inches of snow. They were rewarded with an inspiring array of furniture, lighting and experimental works both at the Interior Design Show and throughout the city-wide DesignTO festival.
His first albums under his own name, 1995's Earth & Nightfall and 1996's cult classic Ten Days of Blue, were blissful-sounding ambient techno records that took the melodic sensibilities of the local scene to their cosmic extremes. Every beep and blip was in harmony with a lush string line, the rhythms less like breakbeats or programmed drums than trance-inducing hammered dulcimers.
The New Pornographers will release new album The Former Site Of on March 27, via Merge. Watch the video for the single "Votive," animated by Michael Arthur, below. The band that performs on the follow-up to Continue as a Guest comprises A.C. Newman, Kathryn Calder, Neko Case, John Collins, and Todd Fancey. Charley Drayton joins on drums, replacing the disgraced former drummer Joe Seiders. Josh Wells will be behind the kit on the band's April-bound tour.
"The song 'Victim Of Luck' and really the entire album is about the romance of a less than perfect life. It's about dropping the mask of self-consciousness and vanity. It was a long journey for me to get out of my own way and I wanted this song to be a rallying cry for that, better late than never. You can be as much a victim of good luck as bad."
Monia Ben Hamouda's work weaves calligraphy, material transformation and ancestral memory into sculptures and installations that oscillate between language and form. In conversation, we traced the conceptual and sensory threads of her practice, unfolding through key works that reflect on heritage, embodiment and translation. Using materials such as iron, stone and pigment, her installations become sites where history is not only referenced but physically felt.
Disembodied heads, eyes, and hands meet spindly trees, dragonflies, and vibrant blossoms in the folk-art inspired works of Michael McGrath. Based in Rhinebeck, New York, McGrath melds a variety of media-most pieces contain a mixture of graphite, ink, and oil and acrylic paints-into dynamic compositions suffuse with mystery. Recurring symbols and objects lend themself to a distinctive visual language that captures both the wondrous and puzzling.
Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.
Wilson's work reexamines how Native peoples have been photographed and represented over time. Using modern photographic techniques and digital media, he responds to Curtis's influential project The North American Indian (1907-1930), inviting viewers to reflect on questions of identity, visibility, and who has the power to shape the images we see.