After returning from years of war coverage, Peter van Agtmael tries to piece together the memory, identity, race, class, and family, in a landscape which has become as surreal as the war he left behind.
Chantal Joffe brings a combination of insight and integrity, as well as psychological and emotional force, to the genre of figurative art. Hers is a deceptively casual brushstroke. Whether in images a few inches square or ten feet high, fluidity combined with a pragmatic approach to representation seduces and disarms. Almost always depicting women or girls, sometimes in groups but recently in iconic portraits, Joffe’s paintings only waveringly adhere to their source – be it a photograph, magazine page or even a reflection in the mirror – instead reminding us that distortions of scale and form can often make a subject seem more real.
Joffe’s paintings always alert us to how appearances are carefully constructed and codified, whether in a fashion magazine or the family album, and to the choreography of display. There’s witty neutrality in a career-spanning line-up that has given equal billing to catwalk models, porn actresses, mothers and children, loved ones and literary heroines. Joffe questions assumptions about what makes a noble subject for art and challenges what our expectations of a feminist art might be. Appropriation of existing imagery has been a cornerstone, particularly in the works for which she first became known. Joffe ennobles the people she paints by rehabilitating the photographic image but, crucially, recognizes that it is paint itself – its spatio-temporal complexities rather than attendant theories or sociopolitical ideas surrounding subject matter – that keeps us engaged.
Born in 1969, Chantal Joffe lives and works in London. She holds an MA from the Royal College of Art and was awarded the Royal Academy Wollaston Prize in 2006. Joffe has exhibited nationally and internationally at venues including the National Museum of Iceland, Reykjavík, 2016; National Portrait Gallery, London, 2015; Jewish Museum, New York, 2015; Jerwood Gallery, Hastings, 2015; Collezione Maramotti, Reggio Emilia, Italy, 2014 – 2015; Saatchi Gallery, London, 2013 – 2014; MODEM, Hungary, 2012; Mackintosh Museum, Glasgow, 2012; Il Capricorno, Venice, 2011; Turner Contemporary, Margate, 2011; Neuberger Museum of Art, Purchase, New York, 2009; University of the Arts, London, 2007; MIMA Middlesbrough Institute of Modern Art, 2007; Royal Academy of Arts, London, 2005; Galleri KB, Oslo, 2005 and Bloomberg Space, London, 2004.
After returning from years of war coverage, Peter van Agtmael tries to piece together the memory, identity, race, class, and family, in a landscape which has become as surreal as the war he left behind.
Thirty years after the Fall of the Berlin Wall and the collapse of the Soviet Union, Staatliche Kunsthalle Baden-Baden presents works by Boris Mikhailov, whose artistic stance displays a strong influence by the political and social changes of that time (more…)
“History of art is a history of great things neglected and ignored and mediocre things being admired. At different times things are different. The history of photography is a history of changes.” –Saul Leiter (more…)
Sinziana Velicescu’s work is a minimalist and abstract approach, a modern chronicling of a quiet land surveyor, completely separated of sentimentality. The publication of her series is a documentation of time, bracketed in images of framed surfaces of space.
The 2019 edition of FotoMexico responds to many of today’s global issues. The exhibition program explores the statement “the personal is political,” looking at at notions of borders and representations of the female body.
Drawing on personal heritage and fictional future projections, Sophia Al-Maria’s protagonists reflect on the narratives and languages they have inherited as children of various colonial legacies.
ICA Boston International artists respond to the migration, immigration, and displacement of peoples today, in works ranging from personal accounts to poetic meditations.
Nam June Paik’s experimental, innovative, yet playful work has had a profound influence on today’s art and culture. He pioneered the use of TV and video in art and coined the phrase ‘electronic superhighway’ to predict the future of communication in the internet age.