“Nobody has a fully transparent relationship to time. We all have the need to pause, to gather our thoughts.” —Sasha Frere-Jones
For the September issue of frieze magazine, critic Sasha Frere-Jones profiles JJJJJerome Ellis ahead of the artist’s new exhibition at the Vienna Secession and Index, Stockholm. Plus, Louis Fratino tells editor-in-chief Andrew Durbin about confronting British modernism in his forthcoming solo show at David Zwirner in London.
Profile: JJJJJerome Ellis
“Ellis is an artist who does not accept the degradations that characterize the American approach to life.” Sasha Frere-Jones considers how time and nature are thoughtfully handled in JJJJJerome Ellis’s expansive oeuvre.
1,500 Words: Like a Caress
“How do I create something using a familiar subject or genre when it can seem like everything has already been said and done?” Louis Fratino grapples with the enduring question of what gives a painting its vitality.
Also featuring
Ahead of artist Lubna Chowdhary’s forthcoming show at Corvi-Mora, London, and her inclusion in British Art Show 10, she speaks with Amrita Dhallu about the role of diasporic memory, chromophobia and connecting to inherited identity in her work. A thematic essay by Cassie Packard spotlights contemporary artists exploring the philosophy of space science to bring the cosmos closer to home. Plus, a dossier dedicated to four galleries to watch in Seoul.
Columns: Detritus
Emily LaBarge studies the way absence materializes for sculptor Liz Larner, ahead of the artist’s first major institutional UK show at Camden Art Centre in London. Kari Rittenbach outlines how Nandi Loaf retools obsolete technologies in her practice, while Lydia Kallipoliti examines what happens when urban waste defiantly refuses to disappear. Xenia Benivolski explores how Aki Onda recycles fragmented radio signals to evoke the spiritual nature of cultural memory. Ahmad Azizy traces the supply chains of US military waste in Aziz Hazara’s project Coming Home (2021–ongoing), on view in full for the first time at SculptureCenter, New York this month.
Finally, Peter Brock responds to Brice Marden’s painting 4 (Bone) (1987-88), and for the back of the magazine, assistant editor Cassie Packard pens a postcard from Santa Fe.
