1

Object of Constancy, Roni Horn

Lead

1980

(image: diaart.org)

2

Propped, Jenny Saville

Oil on canvas

1992

(image: sothebys.com)

3

Paisaje de calicanto, Olga de Amaral

Wool, horsehair, gesso, acrylic

1983

(image: lisson.com)

4

Camper Right Nina Boots for Women

(image: camper.com)

5

Quipu Girok, Cecilia Vicuña

Acrylic and oil stick on cotton, hanbok, and silk

2021

(image: torontobiennial.org)

6

Salatul Fatih, Halima Lami Bashir

Ink and handmade pigments on paper

2024

(image: lamiartstudio.com)

Footnotes

  1. 1.

    Encountered through an instagram story, prompted me to look into Horn's practice. Her work became a reason for me to start learning about minimalism and post-minimalism. I realized that I had seen her cast glass work at Glenstone last month.

  2. 2.

    Seen in How to Be an Artist by Jerry Saltz. I've so been enjoying his social media presence lately. As I've been finally starting to re-approach understanding painting, Saville has been a great artist to start with.

  3. 3.

    I can't remember where I saw this particular piece, it may have also been in that Saltz book, but De Amaral's work hits me the same way that Louise Bourgeois' work does. The piece has an architectural structure that loosens and overlaps, and the woven strips held together in this loose weave make the piece feel like it moves to me.

  4. 4.

    I saw these shoes in an instagram post of somebody reviewing shoes that are best for walking long distances. When I went to buy them after months of sitting on it, they were out of stock(I did buy a different pair which I love and are great walking shoes). I'm realizing that my shoes need to be investments, for the sake of comfort and longevity. This is unfortunate for me as a cautious spender.

  5. 5.

    I think I heard Cecilia Vicuña's name somewhere and in the back of my brain I remembered it has been a while since I'd seen her work. Working from pre-columbian Andean art, semiotics and material culture play a big role in this piece and I think her practice in general.

  6. 6.

    During the conference I attended in September, one presenter spoke about curating Islamic calligraphy from living calligraphers. This artist's work was in the presentation and I was immediately drawn into the framing. Her work carries this vulnerability on so many levels, the delicate paper canvas, the pencil marks left on the edges of the shapes, visible paint movement, but when it comes to the words themselves there's a shift to more confidence in the strokes. I love this piece because as I look at it I keep finding more interpretations. That's the magic of abstraction in Islamic art, although it is meant to be a non-image, there moments where the line between abstraction and representation blurs like this one.