The film brings to light the untold story of thirty-eight Ukrainian Jews who survived World War II by living in caves for eighteen months, the longest-recorded sustained underground survival. Built upon interviews with former cave inhabitants, as well as Chris Nicola, the caving enthusiast who unearthed the story, No Place on Earth is an extraordinary testament to ingenuity, willpower and endurance against all odds.
Have you ever overheard the private thoughts of a stranger? In this concert, Sounds Modern will present music that projects inward experience out loud. Much as Ron Mueck’s lifelike and detailed sculptures invite their viewers into the psychological experiences of the figures, music of California visionary James Tenney and other innovative composers will invite the audience to listen in(ward) to intimate meditations and conversations.
I think you and I both fell hard for Jeff Shore and Jon Fisher’s room, which is motion-activated, and the sound aspect of it is crucial. Though they’re also the ones who completely obliterated their cylinder by building a square video projection room inside it. Those guys are so, so good. Christina Rees in “A Conversation About Art and the Silos on Sawyer,” Rainey Knudson and Christina Rees, Glasstire, October 30, 2017
Bradford’s figures are all generically human yet singular in their execution, as if they tripped out of the brush and landed in unpredictable ways. As a fulcrum to build and drive her storylines, she uses the goofy little things that paint and accidental shapes can do. And hidden in her cavalier brushwork are wise and focused decisions.
Michael Frank Blair, “Katherine Bradford at the Modern Art Museum of Fort Worth,” Glasstire, December 9, 2017
“The work’s a combination of radicalism and humanism,” she says. “When I stand in front of these paintings, it forces me to be there in a way I recognize as essential to my well-being.” Artist Roni Horn quoted in Howie Kahn, “Home Is Where the Art Is: The Ryman Family,” Wall Street Journal, November 17, 2015
Over the last few years, Kamrooz Aram’s paintings have sought to rehabilitate the status of ornament and pattern within modernist aesthetics. Challenging the epithet ‘decorative’, Aram uses ornament conceptually.
Murtaza Vali, “Kamrooz Aram: Recollections for a Room,” ArtReview Asia
Soon after Roy Lichtenstein’s Pop paintings exploded on the art scene in the 1960s, observers grew curious about the popular roots of his work. Critics, curators, and scholars began to trace his borrowed imagery back to the comic books, newspapers, and other commercial printed media from which it came. Michael Lobel
Having lived and worked fluidly between three different cities (New York, Miami, and his hometown of Lima, Peru), William Cordova creates artwork that deals with his real-life issues of transition and displacement. . . . Often site-specific, Cordova’s installations challenge preexisting histories of the places they occupy and present new perspectives on the fleeting significance of his subjects. Artsy, “William Cordova: Biography”
Awareness can feel like a bright island in an ocean of namelessness. The unthought and the unseen wash the shores, leaching into the ground of the mind under sagging frames of reference. There is endless erosion of the coastline, a subversive give-and-take. Objects are soaked with feelings and their identities compromised. Abstractions are contaminated. “Land” in Land, ed. Carroll Dunham (New York: Nolan/Eckman Gallery, 1989). Reprinted in Into Words: The Selected Writings of Carroll Dunham
