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☆ Arlene Shechet’s ‘Girl Group’ Nudges Heavy Metal Men at Storm King
▼ + stars: | 2024-04-27 | by ( Nancy Hass | ) www.nytimes.com time to read: +1 min

The recent late-life critical embrace of a generation of underappreciated major female artists — the 91-year-old nude self-portraitist Joan Semmel, the 84-year-old visual artist and sculptor Barbara Chase-Riboud, the 87-year-old performance and multimedia provocateur Joan Jonas and the Cuban-born abstractionist Carmen Herrera, who died two years ago at age 106 — has brought a measure of satisfaction to the sculptor Arlene Shechet. Also, a good bit of eye rolling. “C’mon now, Carmen had to get to her 90s before people cared,” she says, standing in her roughly 5,000-square-foot Kingston studio, about two hours north of New York City, on a rainy late spring morning, attired in her usual work garb of a knitted cap and an indigo Japanese frock coat now used as a smock, flecked with clay dust and wood chips. “Everyone says ‘Oh, isn’t it so great that these women are getting their due?’ Actually, when you think about it, it’s pretty horrifying.”The 75-year-old Shechet — bemused, kinetic, indomitable — is not in danger of having to wait to be recognized, but you might not realize that, given the furious pace at which she continues to make art. Although she spent the early years of her career teaching at her alma mater, the Rhode Island School of Design, and at Parsons, and raising two children, now in their 30s, in an 1866 building in TriBeCa, continuing to sculpt in a basement studio after their bedtime, she has made up for lost time.

Persons: —, Joan Semmel, Barbara Chase, Joan Jonas, abstractionist Carmen Herrera, Arlene Shechet, C’mon, Carmen, ” Organizations: Rhode Island School of Design Locations: Cuban, Kingston, New York City, Parsons, TriBeCa

☆ With ‘Lovers Grave,’ Tracey Emin Returns, at Full Emotional Volume
▼ + stars: | 2023-11-02 | by ( Nancy Hass | More About Nancy Hass | ) www.nytimes.com time to read: +1 min

Tracey Emin carried around a giant tote decades before enormous handbags were fashionable. “Ironic now, thinking about that, right?” she says, in her soft, working-class-accent, on a chilly afternoon, as she tries to find a comfortable position on a sofa in her recently renovated townhouse on Fitzroy Square, a genteel, central-London pocket that was once home to both Virginia Woolf and George Bernard Shaw. She reaches into the large canvas carryall at her feet to pull out a plastic pouch of urine, which is connected under her loose cotton shift by a long tube to a stoma in her abdomen. She waves it slightly, a white flag, maybe, though because this is Emin, surrender has never been an option. “I made them leave my clitoris,” she says.

Persons: Tracey Emin, Stella Artois, Virginia Woolf, George Bernard Shaw, Emin Organizations: tote, Young British Artists, Lights Locations: London, Fitzroy, New York

But in the adjacent 560-square-foot room — reached through a large glass door — the couple’s priorities become clear: The 19th-century oak table at which Råman works, a relic from a nearby castle, sits in the center of the almost empty space. Every piece has a story: “This is a French pipe for bird hunting calls,” she said, picking up a thin carved wooden straw. “This one with the little pouf at the end? And here are my grandfather’s calipers, which I use constantly. “They remind me of my life,” she said.

Persons: ”, Michael Anastassiades, Råman Organizations: Okko Locations: Swedish, French, London, Cyprus

☆ An Illustrator’s Paris Apartment That Couldn’t Be More Parisian
▼ + stars: | 2023-05-09 | by ( Nancy Hass | Ilyes Griyeb | ) www.nytimes.com time to read: +1 min

PARISIANS ARE OFTEN caricatured as blasé yet, when it comes to their city’s cultural treasures, they can be disarmingly sentimental. New Yorkers may dismiss the Empire State Building as kitsch, but Parisians have an unironic love for the Eiffel Tower and the Arc de Triomphe. There is likewise widespread devotion to the capital’s artisanal past: Many wouldn’t dream, for example, of getting their brass door hardware anywhere but the 19th-century A La Providence on Rue du Faubourg St.-Antoine, or their pencils anywhere but the 136-year-old art supply store Sennelier. Such loyalty to the city’s institutions has a relatively young champion these days: the 38-year-old illustrator Marin Montagut. Raised in Toulouse by antiques dealer parents, he was enamored as a child with images of Paris’s Belle Époque and dreamed of moving to the capital to make art; at 19, he arrived with a single suitcase, a set of watercolors and a few sable brushes.

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