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30/07/2025

Judith Bernstein, C**k in the Box, 1967
Charcoal and pastel on paper

“C**k in the box,” is one of earliest drawings, executed in the same year she graduate from Yale as one of the university’s first female art students. “I started drawing dicks when I was a student at Yale in 1966. I was doing anti-war work about Vietnam and focused on the dick as a symbol of male aggression. They were anti-war, feminist and sexual all rolled into one image.”

Born in 1942 in Newark, NJ, feminist pioneer Judith Bernstein has developed a reputation as one of the most unwaveringly provocative artists of her generation. She was a founding member of A.I.R. Gallery (the first gallery devoted to showing female artists) where she had her first solo exhibition in 1973. She was an early member of many art and activist organizations including Guerrilla Girls, Art Workers’ Coalition, and Fight Censorship.

Quote from the interview “Judith Bernstein: Men have the organ, but they don’t own the image,” by Paul Laster

28/07/2025

Iván Argote, Antipodos, 2019
Bronze, metallic plinth

Antipodos is a series of bronze sculptures by Columbian artist Iván Argote (born 1983) that represent characters with inverted feet in various positions. These works are related to the origin of the word “Antipodos,” invented by the Greeks around 300 BC, who at the time conceived the world as a sphere and used this term to describe a place they imagined to exist on the opposite side of the world. The greek word “Antipodos” literally translates to “with the feet on the opposite.”

25/07/2025

Liu Xiaodong, “Isaac with his walking stick in the shape of ?,” 2018

In this portrait of fellow artist Isaac Chong Wai the painter Liu Xiaodong (born 1963 in Jinzhou, China) captures an intimate moment between the artist and his model, a classic relationship that often rehearses the interaction between the viewer and the finished work of art. “Simply put,” Liu once said, “my intended viewers are thinkers.”

Liu Xiaodong counts among the most prominent painters of modern life in China. A graduate of the Central Academy of Fine Arts in Beijing, Liu has served as a Professor of Oil Painting there since 1994.

24/07/2025

Tadanori Yokoo, Untitled, 1980
Oil on canvas

Tadanori Yokoo (born 1936 in Nishiwaki, lives and works in Tokyo) began his career by making posters for local businesses, which allowed him to move to Kobe in 1956, and to Tokyo in 1960, where he joined the prestigious Nihon Design Center. After four years at the Center, Yokoo left to focus on developing his own style. By 1972, his works were featured in a solo exhibition “Graphics of Tadanori Yokoo,” at the Museum of Modern Art, New York. After visiting a Picasso retrospective in 1980, he renounced commercial design work and devoted himself to painting. “To me,” said Yokoo, “the Picasso show was the first shock since the psychedelic movements of the ’60s. It was as if Picasso by himself did the whole history of painting, and I learned that you could do anything you want— you could do multiple expression on a single canvas.” (Quoted in Yoshiaki Tōno, “Tadanori Yokoo: Between Painting and Graphic Art,” Artforum Sep 1983)

20/07/2025

For the latest issue of Inside Burger Collection, art critic Larissa Kikol examines the sculptural practice of British Nigerian artist Ranti Bam

Bam‘s objects resemble vibrantly painted vases, or abstract creatures with udder-like feet. Some are the height of small children—standing slightly askew, their hoods pulled low to conceal covert, watchful gazes. To create these sculptures, Ranti Bam takes warm, still moist clay in her arms, physically embracing it as her work takes form.

Link in bio

Image 2:
Ranti Bam, Aitou, 2024
Glazed stoneware

Image 3:
Ranti Bam
Ifa 6, 2024
Stoneware, stool

14/09/2022

Biscuits

MOCA is organizing the first North American survey of Iranian-born artist Tala Madani’s paintings and animations. Bringing together fifteen years of the artist’s incisive work, the exhibition will highlight the often-absurd socio-cultural dynamics enacted within Madani’s art and, more broadly, the potent and combustible relationship between art history and global history. Madani’s paintings and animations are powerful meditations on the potential for art to reflect the deeply-seated cultural fears, conflicts, and desires of our present day. Rich in narrative and heavy in irony, they elicit curiosity, fantasy, and repulsion.

Three works of the collection are in the show (the swing, 2014, the whole, 2011 and everyone wants to be Chinese 2008)

03/05/2022

Curator Hendrik Folkerts examines the practice of the enigmatic artist Vaginal Davis for our column Inside Burger Collection, writing: „Consider me a convert: a good Christian boy led astray, seeing the world through the thick veil of the buoyant, defiant, ecstatic, and multitudinous universe of Ms. Davis.“ See link in bio for full article.

Vaginal Davis, Princess Flavour, 2018. Mixed media on found paper, 17,7 c 12,8 cm.
Courtesy the artist

01/03/2022

For Inside Burger Collection, writer Johannes Hoerning examines how growing up in China‘s post-reform era has shaped Cao Fei‘s approach to making Art about labor and utopia.
See link in bio for article.

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Cao Fei, Plant Contest (from the series MGames‘), 2000. Digital print, mounted on aluminium
Courtesy the artist

04/01/2022

“The body gets lost in the gestures” Rita Ackermann in conversation with András Szántó for this months colum of Inside Burger Collection. See link in bio.

Mama Safe Crossing, 2019. Oil, pigment, acrylic, grease pencil and pastel on canvas.
Courtesy the artist

02/11/2021

Curator Dieter Roelstraete tackles gender fluidity and tricky questions of masculinity in Steven Shearer‘s paintings and drawings of male figures for this month’s Inside Burger Collection. See full article under link in bio.

Steven Shearer, Birdy, 2005. Oil on canvas.

06/09/2021

Congratulations .tak our TOY Berlin Masters Award Winner 2021!

02/09/2021

This month's Inside Burger Collection focuses on the legendary artist Lee Ufan, who, curator Jean-Marie Gallais fondly
recollects, gave his guest an energetic tour around his adopted home in Kamakura, Japan. Lee Ufan also shares excerpts from his new reflections on time and existence in the pandemic era. See full article under link in bio.

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Ufan Lee, Untitled, 2015
31 watercolours on paper
© ADAGP Lee Ufan Photo. archives kamel mennour
Courtesy the artist and kamel mennour, Paris/London

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