• GREG DRASLER

    Wednesday, January 24, 2024

    There is a moment, if memory serves, about halfway through Godard’s Pierrot Le Fou, where his camera is following Belmondo and Karina as they scarper across the cliffs overlooking some gorgeous Mediterranean inlet. They are on the lam; someone is dead, killed. I do not recall if they are being chased, probably. Tension mounts, (that […]

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  • SUSANNA STARR

    Tuesday, May 31, 2022

    New York City artist Susanna Starr uses saturation, absorption, and even simple rubbing, to make delicate porous objects. Her work offers a glimpse into the unseen structures of familiar things – exploring questions of space and physicality. She received an MFA from The Yale School of Art, a BFA from The Maryland Institute College of […]

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  • Michelle Weinberg

    Monday, May 9, 2022

    When I create art for an interior, exterior or public place, I’m thinking of surfaces as social veneers that are penetrated by viewers/participants. I like to connect with individuals moving across or around a public artwork by suggesting a synchronization with their own bodily rhythms of breath, footsteps, heartbeat and pulse. It’s this flickering, pulsating effect I’m after – a vibration we can feel with the fundamental sublime geometry existing beneath all things.

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  • Ilene Sunshine

    Thursday, April 28, 2022

    I’m using twigs and cord to frame air. That’s what enchants me most— how a space can be empty, yet full of presence. So, though I’m technically the maker, it’s a matter of me paying attention to how these materials behave under certain circumstances.

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  • Fran Shalom

    Tuesday, April 12, 2022

    I am always teetering from one edge: from abstraction to figuration; from ambiguity to obviousness; from clarity to mystery; from additive to subtractive.

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  • Brian Gaman

    Monday, March 7, 2022

    In 2014, Brian Gaman, one of the founders of Romanov Grave died. We miss his exacting intellect and his rigorous vision for art but hope this page will help us and the art community remember him. A friend of his once said he was a fringe dweller. It turns out fringe is the place where […]

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  • Alex Branch

    Wednesday, February 23, 2022

    I think my interest in transformation can be traced back to my childhood growing up on an island in the Pacific Northwest. As a child, I was fascinated by the mysterious objects that would wash ashore from unknown places, some from the natural world, and also those that were human made but had been transformed by their time in the water. Barnacles and seaweed would attach to them, changing them into hybrids. When I work with found objects in the present day, they carry with them a residue of a life lived. It’s not possible to know exactly where the objects have been, or who interacted with them, but the fullness and richness of their experience resonates.

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  • Alexi Worth

    Tuesday, February 8, 2022

    In my current show giant fingers are the first thing you see, and they are unmistakable, […]. I think their obviousness mis-sets our expectations in a funny way, so that you feel you have a right to understand everything else as immediately. But you don’t. I’m interested in that mix of extreme clarity and uncertainty. That corresponds to my sense of things.

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  • Nick Van Zanten

    Monday, September 27, 2021

    My work starts from my pleasure in the tactile and visual experience of myself in these fabrics, which are shiny as if they were wet, colorful like neon, so wonderfully smooth that you just want to slide around in them, and so utterly unnatural that they put me outside my normal body. This same artificiality also makes them strange and abject, offering a promise of transformation that they can’t fulfill.

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  • Julie Evans

    Thursday, September 2, 2021

    In my sculptures, I have to compress anything I may want to suggest into the singular form, with no assistance from the space that surrounds it. This difference changes everything and requires me to be more direct, more specific, and more finite in the work. I can not smudge something into a ghostly state, (suggesting character) or indicate where or how a form exists in space. Working with the isolated forms themselves means they must be complete, discrete, and particular unto themselves.

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  • Elisa D’Arrigo

    Saturday, August 14, 2021

    I consider the works’ configurations to be poses in a way. They are taking a stance or are in a paused position between moves. I feel their position in my own body, and those positions often record or express my own transitory states of mind. Clay is a good material for revealing the previously unthought.

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  • A Reminiscence of Carol Hepper

    Tuesday, July 13, 2021

    Sarah van Ouwerkerk remembers Carol Hepper who passed away on April 29 2021.

    Listening to her, I was transported back to my own childhood in Wisconsin, lying in a cow pasture with my sister, staring up at the sky and thinking life was perfect. I will always be grateful for those conversations that reminded me of how I got here. They were sweet, tender, and inspiring. Theory, the business of art, all that comes later and is often more difficult to navigate. First, the artist has to be born, and Carol knew where she came from.

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  • MATT FREEDMAN

    Tuesday, June 15, 2021

    Earth receive an honored guest, our lightening sketch artist is laid to rest. But hey, not so fast. When Matt Freedman died on October 24, 2020 he left behind a studio brimming with artifacts; seems the artist was not quite emptied of his poetry after all.* And that the first image of Freedman’s studio should […]

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Grave Videos

Reviews

Jul
30

PAE WHITE – RESTLESS RAINBOW by Nick Van Zanten

  Pae White’s Restless Rainbow has taken over a terrace on the third floor of the Art Institute of Chicago’s new Modern Wing, with an outpouring of bright colors printed on opaque vinyl along the glass walls.  Why this terrace is where it is, what’s so striking about it and why part of it hosts […]

Jul
30

RYAN TRECARTIN – ANY EVER by Nick Van Zanten

Video artist Ryan Trecartin, a veteran of Younger Than Jesus at the New Museum and the 2006 Whitney Biennial, inaugural winner of the monumental Jack Wolgin prize, RISD graduate, and 30-year old, is showing his very ambitious new piece Any Ever at PS1 this summer, marking his triumphant return to that museum for the first […]

Jun
4

Vision is Elastic. Thought is Elastic

The most beautiful photograph I ever saw? I have described it here before. An exhibition of Sam Wagstaff’s photography collection at the Wadsworth Atheneum in Hartford Connecticut: the usual canonized suspects are all there.  Then, unannounced, at a distance across the room, scratching at the corner of ones eye, a small –4×6 maybe– black and […]

Apr
13

Pages from a Magazine: CAMERAWORK at White Columns

White Columns allows itself the luxury –or the, delirium– of putting on shows with zero economic potential that graze in relatively obscure intellectual pastures. Pages from a Magazine: CAMERAWORK is the current wonderful example of this formula. CAMERAWORK was one of a number of left wing journals engaged (very much so) in the critical revaluation […]

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Romanov Grave is a group of artists who write reviews and curate exhibitions. Some of us prefer to remain anonymous.

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