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Art In Conversation

Maja Ruznic with Ann C. Collins

Anchoring her work in deeply saturated colors, American artist Maja Ruznic channels her subconscious into haunting paintings in which figures materialize from geometric and amorphous forms. Confident in the hybrid space she has found between figurative and abstract traditions, she evokes an unsettling sadness tinged with a sense of the mystical and the cathartic.

Art In Conversation

David Ostrowski with Andrew Woolbright

David Ostrowski has somewhat of a cult status among painters. His “F” series continues on in the memory and discussions of painters here in New York, brought up in the more wistful moments of painters reminiscing about the moments when painting felt like it understood something about culture and about itself.

Art In Conversation

Isaac Julien with Zoë Hopkins

In the past four decades, British filmmaker Sir Isaac Julien has become widely celebrated for his pioneering body of work, which combines avant-garde film techniques with an incisive gaze at the politico-historical tumult of our world and a careful grip on the intellectual and philosophical currents that have shaped modernity.

Art In Conversation

Alvaro Barrington with Alex Bacon

Alvaro Barrington recently welcomed me to his sprawling studio complex in London’s Whitechapel neighborhood. Fresh from the opening of his installation at Tate Britain, his most ambitious to date, we discussed a wide range of subjects, including his grounding in painting, his study of art history, and the inspiration he draws from hip hop culture. This allowed us to pull out some of the many threads present in the Tate project, both personal—such as his evocation of significant female friends and family—and formal, as in his particular approach to the structure of Tate’s Duveen hallway.

The Queer Imagination, Then and Now

By Christopher T. Richards

I’ve just returned to New York from my annual pilgrimage to the Zoo, where every May Western Michigan University in Kalamazoo hosts a cadre of monks, neopagans, cosplayers, and Tolkien lovers, in addition to a few medievalists. Three days of academic panels, working groups, and business meetings culminate with “The Dance,” where, if you’re anything like me, you’ll take the opportunity to kiss a beautiful Hispanist, whom you won’t see again till next year. It’s rather like summer camp that way.

From the Publisher & Artistic Director

Dear Friends and Readers

We must remind ourselves that the speed of technology and social media can be deployed for both negative and positive means of communication. And in response, we must continue to elevate and give proper attention to the slowness of culture, the arts, and the humanities as urgent and vital counter friction as we’ve done so in the past—for they are essential to the health of our democratic heart and all of us as individuals.

Editor's Message

SPECULUM MUNDI: For an Iconography of the Present

By Pepe Karmel

In his introduction to The Gothic Image (1899, English trans. 1913), Émile Mâle implicitly acknowledges that a nineteenth-century viewer may find the visual language of medieval art obscure. Mâle responds by explaining that, unlike art in the Renaissance tradition, medieval art does not attempt to reproduce literal appearances. Rather, it is “a sacred writing of which every artist must learn the characters.”

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Table of Contents

Editor's Message

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In Memoriam

Field Notes

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JULY/AUG 2024

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