Artist, writer and professional wrestler Rosalyn Drexler, born on November 25, 1926, sadly passed away in September of this year. In addition to her famous artworks, she also wrote several novels and won Obie awards for her plays.
The painting above, Marilyn Pursued by Death, 1963, is currently on view at the Whitney Museum of American Art in New York.
From the museum about the work-
Rosalyn Drexler’s work often explores the dark backstories of postwar media culture and gender roles. She frequently clipped subjects from printed materials-here, a news photograph of Marilyn Monroe fleeing the paparazzi with her bodyguard in tow-enlarged and collaged them onto canvas, and then painted over the image. In the artist’s words, her source images were “hidden but present, like a disturbing memory.” On the day this source photograph was taken in 1956, Marilyn Monroe and Arthur Miller were to announce their upcoming marriage; in the frenzy to cover the event, a car carrying reporters crashed, killing at least one member of the press.
Today’s flashback is to a few of the intricate works from Sofia Love‘s 2023 exhibition Vaquera at Shelter in NYC.
From the gallery about the exhibition-
Vaquera – not determined by an article, the word becomes both a noun and an adjective, an iconic figure and a way of being in the world. For Brooklyn-based painter Sofia Love’s debut solo exhibition in New York, vaquera is both a manifesto of queer self-fashioning and a patron saint.
Born and raised in Boston, but with deep family ties to the Mexican community of Laredo, TX, Love’s acrylic paintings serve as a negotiation between ancestral memory and contemporary identity. The titular cowgirl recurs throughout the exhibition – gun-slinging, brown, and frequently nude – framed by expanses of desert. She’s a real, historical cowgirl. She’s the artist traversing her own imagination. She’s a badass dyke. For Love, vaquera is an object of desire and an extension of herself.
While there are traditional canvases, the majority of works on view take the form of nichos, intimate yet elaborately decorated altars that can be found in homes across Mexico. Dedicated to deceased ancestors or particular saints, nichos blend folk spirituality with Catholicism, smuggling pre-Colombian vernacular traditions into contemporary, Westernized culture. Love’s nichos draw on this history to produce art objects that exist at the border of painting and sculpture, with frames that extend the content and imagery of the paintings they enshrine.
The resulting works each have interiors and exteriors, the painting and the frame, in which ambivalent scenes are surrounded by totems and animals that seem to hint at the psychological subtext of the central image. Figures reappear across the framed nichos like characters in a narrative, each with its own personal connotation for the artist. Skulls, moths, storks tell stories that are only partially legible from an external perspective. Like the vaquera herself, Love’s layered compositions refuse any easy interpretation.
Betsy Lester, “The Weyward Sisters”, Acrylic and collage on canvas
Florida artist Betsy Orbe Lester‘s mixed media work blends the familiar with the mysterious. The works pictured are from a 2023 visit to her studio at ArtLofts in St. Pete.
In Solitude-Funnel (1921), one of the last works that Duchamp made in the context of Dada in Paris, she combined fields of pigment with cut-out circles of metallic foil in a composition that juxtaposes painted and collaged geometric forms with a puzzling inscription. The thin, black lines emanating from the black circle at the center resemble the funnel described in the title, or the spokes of a bicycle wheel.
Her first comprehensive solo exhibition ever is currently on view at Schirn Kunsthalle Frankfurt until 1/11/26.
Today’s flashback is to Huma Bhabha‘s spooky figures for Before The End, which was on view until March of this year at Brooklyn Bridge Park. It is just one of the many projects organized by Public Art Fund.
From Public Art Fund about the work-
With the ominous title Before the End, Huma Bhabha (b. 1962, Karachi, Pakistan) sets the stage to evoke mythologies as old as humankind. Conceived for Brooklyn Bridge Park, Bhabha’s four monumental painted and patinated bronzes were cast from carved cork and skull fragments. The mysterious figures recall ancient effigies cut into tombstones, their surfaces evoking centuries of eroded sediment and stone. Yet, unlike a tomb, these four-sided vertical forms stand elevated above the earth, their bones open to the sky.
“Before the End” is a title borrowed from the writings of Vincent of Beauvais (ca. 1184–1264), whose medieval imagination sparked with supernatural and apocalyptic visions. Today, the related popular genres of horror and science fiction continue to inspire Bhabha, as does art history from antiquity to the present day. Her rough-hewn figures are ambiguous—are they emerging or trapped within, rising from the depths of the earth or returning to the underworld? Set amidst an expansive landscape where the natural and man-made converge, Bhabha’s sculptures captivate through contradiction, seemingly forged in geological time yet animated with a visceral sense of immediacy.
Below Nederveen describes his process for the work (pictured below)-
Using a mixed media approach to image making, I combine acrylic paint and C-print photographs. By layering these elements I can etch down into the emulsion of the photograph to reveal golden hues and also build up the surface with impasto and washes of colour. The result is an image with photo sharp detail in focal areas and painterly brush marks that obscure and create space for the imagination.
Both of these exhibitions close 10/11/25.
Steven Nederveen, “Gold Hidden Within”, Mixed Media
Steven Nederveen, “Gold Hidden Within”, Mixed Media (detail)
Steven Nederveen, “Breathe In the Forest Air”, Mixed Media
William Wegman‘s portraits of his Weimaraner dogs were recreated in glass mosaic form by Mayer of Munich in 2018 for “Stationary Figures”, lcated in the 23rd Street subway station. The eleven murals brighten up the walls and are one of the many projects created by MTA Arts & Design.
Photographed with the artist’s deadpan sense of humor, the dogs take on human attributes, from wearing street clothes like a shiny raincoat or flannel shirt, to being grouped like passengers as they gaze into space or peer down the platform as if waiting for the train.
Situated in bold blocks of color, the larger-than-life mosaic dogs are bursting into space and interacting with commuters. The mosaic fabricator, Mayer of Munich, interpreted the photographs taken for this project by meticulously transforming the facial expressions, skin textures and patterns of the dogs’ vibrant attire into glass mosaic. Wegman has lived and worked in the neighborhood for decades, and together with his dogs Flo and her brother Topper, they have created images that enliven this busy station.
Speaking about the project, Wegman said, “I wanted to create portraits of individual characters, people who you might see next to you on the platform. For these I dressed the dogs in more or less ordinary clothes, nothing too fashionable. I was very interested in the way in which photographs, even the out of focus dogs in the background of some images, could be translated into mosaic by Mayer of Munich, who skillfully turned gray stones into gray dogs.”
Below are the two series consisting of three panels each-
“Imagine a World Without America”, 2007, Screen print and acrylic on canvas
The painting above is by Brooklyn-based artist Dread Scott and was on view as part of the 2019 group exhibition Borders at James Cohan gallery in NYC.
From the press release about the work-
His 2007 work, Imagine a World Without America, calls upon the viewer to participate in the titular thought experiment and contemplate that absence. The painting de-centers the United States of America from the middle of the map that most Americans are familiar with. Scott utilizes the language of cartography to encourage the exploration of social questions, not geography. Land mass and sea are depicted but—like the world as it actually is—borders don’t exist.
The work is currently on view as part of 15, a group exhibition at Cristin Tierney gallery, celebrating the gallery’s anniversary and new location. 15 will be on view until 10/4/25.
Dread Scott has created political works throughout his career in a variety of mediums. In the video below he discusses how one of his art installations, What Is the Proper Way to Display a U.S. Flag (1989), drew controversy- including denouncement by then President George H.W. Bush.
Born today, 9/12, artist Robert Irwin used light and space in his work as a way to create an experience for the observer. He started out as a painter but later became well known for his site-specific installations and architectural and outdoor projects- including the central garden at the Getty Center in Los Angeles (pictured below) and his work for the Chinati Foundation in Marfa, Texas.
The works above are from his 2020 exhibition, Unlights, at Pace Gallery in New York.
About that show from Pace-
Irwin’s new works are composed from unlit six-foot fluorescent lights mounted to fixtures and installed in vertical rows directly on the wall. The glass tubes are covered in layers of opulently colored translucent gels and thin strips of electrical tape, allowing the reflective surfaces of unlit glass and anodized aluminum to interact with ambient illumination in the surrounding space and produce shifting patterns of shadow and chromatic tonality. Reflecting his recent turn toward the perceptual possibilities of unlit bulbs, Irwin’s new body of work expands the range of possibilities for how we experience sensations of rhythm, pulsation, expansion and intensity, while continuing the artist’s long-standing interest in registering the immediacy of our own presence in space.
Expanding from his breakthrough disc paintings of the late 1960s, Irwin’s new works effectively dissolve the perceived border between object and environment, focusing the viewer’s consciousness on the act of perception. Each light fixture in Irwin’s sculptures contains one or two unlit bulbs—or no bulb at all—while alternating gaps of “empty” wall are painted in subtle shades of gray, producing a sense of uncertainty about what is tactile and what is merely optical. As the shadowed, painted and reflected intervals of space reverberate in the viewer’s visual field, the wall itself enters the composition, destabilizing any sense of figure and ground. To encounter Irwin’s sculptures is thus to allow oneself to be caught in a ceaseless oscillation between flatness and volume, transparency and opacity, solidity and atmosphere.
In Irwin’s art, the object functions as a kind of score for orchestrating “the continual development and extension of humans’ potential to perceive the world.” Although unlit, the bulbs in these new sculptures are therefore never “off.” Their optically rich surfaces serve as energetic loci for heightening the sensory possibilities of the human body. In their chromatic complexity, the works convey an almost painterly quality, recalling Irwin’s origins as a second-generation Abstract Expressionist painter in the 1950s. Suggesting a rhythmic, minimal composition of repeated linear elements, the works also evoke his innovative line paintings of the early 1960s, which involve us physically and perceptually in an open-ended, immersive and transitory experience of seeing.
Widely recognized as a pivotal figure in contemporary art, Irwin is closely associated with the Light and Space movement that emerged in Los Angeles in the 1960s, and he has continued to live and work in Southern California for his entire career. He first used fluorescent lights as substrates for producing what he has called a “conditional art” in the 1970s, often in combination with architectural scrims and other spatial interventions. In the 1990s he introduced colored gels to the fluorescent tubes to alter the chromaticism of the light, and, over the past decade, began isolating the bulbs and fixtures as sculptural objects in their own right. In returning to the use of solely ambient light, Irwin’s new sculptures embody the culmination of seven decades of rigorous experimentation.
“Everything in the world is ultimately conditional,” Irwin has observed. “There is nothing that’s transcended or infinite or whatever you want to call it. Everything acts within a set of conditions.” Like all of Irwin’s works, his new sculptures respond differently to the conditions of each specific environment in which they are installed, attuning our senses to a given context and making possible an intuitive and incidental experience of seeing that resists rational or conceptual explanation. “It’s not about answers,” the artist once remarked, but rather about the act of questioning: “It’s the constant pursuit of the possibilities of what art is.”
Getty Center, Los Angeles
Below is one of his earlier paintings Untitled, 1964-6, which was on view at Palm Springs Art Museum for the 2024 exhibition Particles and Waves: Southern California Abstraction and Science, 1945-1990.
From the museum about the work-
Although this work appears to have a monochromatic white surface from afar, a matrix of thousands of painted dots becomes visible from a closer vantage point. Irwin aimed to highlight the visual effects of color interaction by juxtaposing light green and lavender, complementary colors across from each other on a color wheel. The canvas’s outwardly bowed supports and the increasing density of dots towards the painting’s center further heighten the viewer’s perceptual experience of the work.
The documentary Robert Irwin: A Desert of Pure Feeling, does an excellent job detailing his life, art, and the philosophy behind his work. It is well worth a watch and inspiring to watch him still at work in Marfa at 87. He passed away in 2023 at the age of 95.
