Mira Schor is a New York-based artist and writer noted for her advocacy of painting in a post-medium visual culture and for her contributions to feminist art history. Schor’s work balances political and theoretical concerns with formalist and material passions.
This madame, artistically speaking, for me, seems to be some sort of Angela Merkel. Her visions are extremely trenchant whether we are talking about her artisic expression or about her political vision. About the second theme, well, Mira Schor have released a series of essays and works which, somehow or other, are summerized on her blog.
So, returning to our main topic, Schor’s paintings are philosophical meditations on the place of painting in contemporary culture, on the visual artist as a thinker, on painting as a uniquely sensual space for the visualization of thought itself. The central theme in these paintings is the experience of living in a moment of radical inequality, austerity, and accelerated time, set against the powerful pull of older notions of time, craft, and visual pleasure.
“Each painting is a short story, and the paintings together suggest a narrative though not necessarily an obvious one, but at the same time, the rectangle is an interesting abstract object.” (Mira Schor, interview for hiperallergic.com)
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