"How do you begin to depict a feeling?" Describing her practice, artist Dana Schutz says that this is the question she continually tries to answer. In these very delicate times, it is a question we must also ask ourselves and, by extension, our readers. As part of the art community, like everyone else, we are trying to keep up with a constantly shifting reality.
The theme of this issue, put together back on the pandemic, is an examination of a new sort of figuration in painting that has emerged in recent years. That subject took on a secondary urgency, however, as authors and artists reacted to the current situation. Cover-story-artist Tala Madani worked on a special project addressing issues of fear, isolation, and illness by reporting on her own state of homebound reclusion, in conversation with artist and life partner Nathaniel Mellors.
Also in this Issue:Ingrid Luquet-Gad explores the boundaries between sculpture and painting in Jana Euler's new show "Unform" at Artists Space, which opened just three weeks before New York City's lockdown. Issy Wood offers a visual essay that reflects, among other things, on gratitude in the time of the virus. Franklin Melendez considers steam as technological marker in Avery Singer's seductive "hands-free" paintings. Natasha Hoare identifies Emily Mae Smith's paintings as "reliquaries of art history and pop culture." Peter Benson Miller writes about how Oscar Murillo's practice maintains "one foot firmly planted in his studio" while attempting to reduce the gap between art and life. Also in this issue we introduce two new columns: "NewCostume" on contemporary fashion practice by Matthew Linde and "The Curatorial Gaze" by Pierre Bal-Blanc in which he proposes a new model of multisubjectivity available to all creative people.