clippings / ART
Elysian • Spring 2021
Jocelyn Lee didn’t want to throw the flowers from her October wedding in the trash—the ranunculus were too gorgeous for that—so she put them in a tub of water in her backyard, not thinking about the temperature. They froze overnight then defrosted, changing shape and texture, turning, Lee remembers, into “something super beautiful and strange—part laboratory and part surreal science experiment.”
Dance International • October 2020
Kunji Mark Ikeda spent the first 20 years of his life, in Vancouver, “trying to be as white as possible,” he says. Mayumi Lashbrook, raised on the other side of Canada, in Toronto, did the same.
Elysian • Summer 2020
Magnhild Kennedy’s elaborate masks are deeply unsettling yet exhilarating: wholly unusual, wildly imaginative, and vividly colored. They seem to combine elements of high fashion (with its joyous embrace of extremes), burka- or veil-like head coverings (with their power to efface women), or tribal masks (with their spiritual force).
Dance International • July 2020
“Hello, how are you doing, my beautiful peoples?” 36-year-old Armenian dancer Tsolak MLKE-Galstyan made a habit of saying in his delightfully imperfect English to his fellow artists in Paris.
Elysian • Summer 2019
“If you are interested in collecting contemporary art on any level, you have to visit Basel,” according to Mary Sabbatino, the Vice President and Partner of Manhattan’s prestigious Gallerie LeLong & Co.
Elysian • Summer 2019
Six years ago, Leeh Ann Hidalgo was not exactly happy. And why should she be? In 2012, she’d moved to Hong Kong from the Philippines to take a job as a domestic worker.
Decor Maine • September 2018
You know how sometimes an entire college campus or town will read the same book? When they do, sometimes ancillary programming addresses the issue (often there is an issue) emerging from the pages. It’s rarely “just” a literary conversation.
New England Home/CT • Fall 2018
The class assignment was to make something woven in multiples with an inexpensive material. Susan Beallor-Snyder thought she’d trap a Barbie doll in a sphere of willow. She meant it as a metaphor for herself: at this point in her life, in 2011, she was a woman who felt artistically hampered by her outwardly enviable existence as the wife of an entertainment executive and mother of two children.