Fellowship @ TU Dresden
Cinematic Portrait Painting: By Gerhard Richter examines the use of the form and techniques of the cinema as an artistic vocabulary in Gerhard Richter’s portraits.
Hitler: The Lost Tapes, Channel 4
US and international audiences will need to wait! The series has been sold with a different (more accurate) title, Hitler: A Life in Pictures. It is on its way to a channel near you!
My monograph on the work of American abstract painter Jacqueline Humphries is now in publication. It will appear in the Contemporary Painting series with the UK publisher Lund Humphries in 2022.
Picturing Post-Industrialism is a collection of academic articles that I am co-editing with Magda Szcześniak (University of Warsaw). The collection investigates initiatives in film, art, visual culture that make the industrial past visible, negotiable, re-imaginable in the wake of closures, unemployment, diminished social services and shattered identities across Europe.
I spent the year of confinements, curfews, and Coronamania writing a series of essays. The essays explore issues such as isolation, connection, and the replacement of the sensual with technology—all inspired by works of art and visual culture.
You can read more here
Cinematic Portrait Painting: (Not) About Gerhard Richter
Cinematic Portrait Painting: By Gerhard Richter examines the use of the form and techniques of the cinema as an artistic vocabulary in Gerhard Richter’s portraits. The book argues for discourses on cinema as a lens to understanding Richter’s painting more generally. Thanks to their out-of-focus blur, creation of temporal narratives in and across abstract paintings, invocations of motion, gestures of editing, rethinking, and, at times, obfuscating, within single and across multiple images, Richter’s paintings continue to evade the language of art critics and historians. By going outside of the history of art for a language with which to describe and interpret the paintings, Cinematic Portrait Painting brings new insights to Richter’s oeuvre, its relationship to the world, in particular, identity representation, and our vision of other images more generally.