The theme of this issue, put together back on the pandemic, is an examination of a new sort of
figuration in
painting that has emerged in recent years.
“‘How do you begin to depict a feeling?’ Describing her practice, artist Dana Schutz says that this is the question she continually tries to answer. In these very delicate times, it is a question we must also ask ourselves and, by extension, our readers. As part of the art community, like everyone else, we are trying to keep up with a constantly shifting reality.
The theme of this issue, put together back on the pandemic, is an examination of a new sort of figuration in painting that has emerged in recent years. That subject took on a secondary urgency, however, as authors and artists reacted to the current situation. Cover-story-artist Tala Madani worked on a special project addressing issues of fear, isolation, and illness by reporting on her own state of homebound reclusion, in conversation with artist and life partner
Nathaniel Mellors.”
Also in this Issue: Ingrid Luquet-Gad explores the boundaries between sculpture and painting in Jana Euler's new show “Unform” at Artists Space, which opened just three weeks before New York City's lockdown. Issy Wood offers a visual essay that reflects, among other things, on gratitude in the time of the virus. Franklin Melendez considers steam as technological marker in
Avery Singer's seductive “hands-free” paintings. Natasha Hoare identifies Emily Mae Smith's paintings as “reliquaries of art history and pop culture.” Peter Benson Miller writes about how
Oscar Murillo's practice maintains “one foot firmly planted in his studio” while attempting to reduce the gap between art and life. Also in this issue we introduce two new columns: “NewCostume” on contemporary fashion practice by Matthew Linde and “The Curatorial Gaze” by
Pierre Bal-Blanc in which he proposes a new model of multisubjectivity available to all creative people.
Flash Art is a contemporary art and culture magazine (and a
publishing platform) founded in 1967. Within a decade, it became an indispensable point of reference for artists, critics, collectors, galleries, and institutions. In 2020,
Flash Art became a quarterly publication, at the same time increasing its trim size and updating its graphic identity. The magazine offers a fresh perspective on the visual arts, covering a range of transdisciplinary approaches and fostering in-depth analyses of artist practices and new cultural directions. Today,
Flash Art remains required reading for all who navigate the international art scene.
Flash Art is known for it covers featuring artists who subsequently become leading figures in the art world. The magazine includes photoshoots, productions, critical essays, monographic profiles, conversations with emerging and established artists, and a range of ongoing and thematic columns that change every few years. The long history of the magazine is also highlighted by pivotal texts from the archive that are included in the publication time to time. Finally, every issue offers a highly curated selection of the best institutional exhibitions on the global scene.
See also
Flash Art Volumes.
