THE INDEPENDENT VOICE OF THE VISUAL ARTS
Introduction As some observers of the world gain more years in their lives, they may find themselves asking, ‘Is the world changing or am I just getting older?’ As civilization and culture around the world continues to shift with time, so too does the notion of what is “contemporary.” Technology has transformed our ideas, aesthetics, discourse, and human life itself for most people on this planet if not all. Technology has also connected us but arguably made us more alienated in some sort of covert Faustian trade off. It is perhaps in this new era of contemporary convolution that we find ourselves looking more and more to the past. New Art Examiner is no stranger to change and transformation. This past year has prompted us to make a number of changes that we hope will steer us on a path to continue our mission of understanding the complexities of our world and the culture that inhabits it. We are no longer framing our quarterly editions around a single theme. There is simply too much to discuss in these times. But the themes have provided our editorial team with additional frameworks for our approach to criticism and the perspectives we bring with us when we engage with art. Our recent coverage and this winter quarter edition of 2022 (labeled January 2023) highlights a convergence of the past, present, and future. It can almost be encapsulated by Evan Carter’s review of The Arrival of Spring at the Art Institute of Chicago which presents the work of known commodity David Hockney making impressionist paintings on an iPad. We also remember sculptor John Raymond Henry in an obituary by Neil Goodman who draws the serendipitous connection between an artist working in steel and the definitive folk song of the mythical John Henry. And speaking of history, Michel Ségard covers Wrightwood 659’s chronicle of gay life and culture in art with his review of “The First Homosexuals: Global Depictions of a New Identiy, 1869–1930.” Interesting interplays of worlds and times can be found in K.A. Letts’s review of Jason Revok’s exhibition at MOCAD and Annette LePique’s review of Michiko Itatani’s paintings at Wrightwood 659. And Paul Moreno is twice featured highlighting the visual art practice of Joe Brainard who was known more as a writer and poet, while also covering Gabriel Orozco’s Spacetime at Marian Goodman gallery. Monumentality also seems to be a re-emerging form of interest in art and can be seen in the Work of Scott Hocking at Cranbrook Art Museum, also reviewed by K.A. Letts. As always, we hope you enjoy what we offer, and know that we are grateful for your support as we continue to grow. Have a great year! The Editors

 

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