Suzanne Hudson is an art historian and critic based in Los Angeles. Recent books include Agnes Martin: Night Sea (2017; 2020) and Contemporary Painting (2021).
Ours is a City of WritersBy Suzanne Hudson, Simon Leung, and James Nisbet
New approaches to writing are everywhere in evidence across the contemporary art world. In Los Angeles, home of East of Borneo, XTRA, Les Figues Press, MATERIAL, and the Journal of Aesthetics and Protest, to name a few venues where art meets writing, critical and discursive engagement with art and art writing is especially pronounced.
Making Friends: Ad Reinhardt and Agnes MartinBy Suzanne Hudson
In 1967, Agnes Martin left New York City, where she had been living for a decade. She traveled for two years in Canada and the American West before settling on a remote New Mexican mesa, building a house by hand, and living in relative isolation for the remainder of her years.
Joan Brown & In the Shadow of Mt. TamBy Suzanne Hudson
Rail critic Suzanne Hudson examines the effects of time and place on two new exhibitions highlighting artists of the Bay Area.
Robert Janitz at the AnahuacalliBy Suzanne Hudson
These last works especially bait other kinds of readings, not least in their figuring of semiotic becoming: the shapes suggest a human form seen from behind against a monochrome or gradient ground, with the orb standing in for a head and its base then legible as shoulders.
Louise Bonnet and Adam Silverman: EntanglementsBy Suzanne Hudson
In what is a first for the space, Hollyhock House curator Abbey Chamberlain Brach has organized a site-specific intervention with paintings by Louise Bonnet nestling work into the homes recesses and ceramics by Adam Silverman set on the dining room table and various plinths uncannily anticipating display.
On Being SaneBy Suzanne Hudson
Roger Cardinal coined the term outsider in 1972, using examples of European art, and specifically the work of psychiatric hospital patients collected by the artist Jean Dubuffet under the heading of Art Brut.
The Luck of the DrawBy Suzanne Hudson
Richard Shiff ends his essay, Reality By Chance (2014), on a proposition that concerns precariousness, understood rather more felicitously as the necessary condition for lucks possible attainment