News

The Corridor Foundation is pleased to announce the launch of its spring exhibition, Mystical Me, on March 29, 2025. The exhibition showcases works that either reveal the alienation and inner conflicts of individuals during the process of modernization through distorted forms and vivid color contrasts; or transcend the boundaries between reality and illusion through collage, juxtaposition, and recombination, thereby constructing an imaginative surreal space; or engage visitors into the artists' inner worlds, embarking on a profound spiritual journey centered on themes of loss and discovery.The exhibition explores how contemporary artists construct their own worlds through art, offering insights into self-awareness and spiritual development.

By Julia Halperin

Some artists are drawn to small paintings for practical reasons; when materials, studio space and shipping have never been more expensive, they’re relatively cheap to make and easy to store and transport. Small paintings are also intimate, seductive and unpretentious. As Middleton puts it, they “creep up on you.”  While the artists who make them vary in style and approach, they seem to share a somewhat old-fashioned view of what art is for: individual communion rather than collective spectacle — only one viewer can stand in front of each of these pieces at a time.

By Sam Lubell

Before the Eaton fire raced across Altadena, destroying more than 9,000 of its buildings, many, even in nearby Los Angeles, barely knew of the place’s existence. This sleepy 42,000-person hamlet hugging the glowing foothills of the San Gabriel Mountains is not part of that city but an unincorporated community of Los Angeles County, and just far enough off the beaten track to blissfully avoid notice.

Interview by Christophe Cherix

The Los Angeles fires brought back to my mind a conversation with Betye Saar about some of the very first etchings she made at home, right out of college. These prints often show charred vegetation rendered in beautiful color overlays, making the burnt wilderness glow in extraordinary shades of ochre and orange. Betye explained at the time that the house she had moved to, in 1962, was located in a canyon that had been devastated by fires three years earlier. When I heard she was safe back home, after having been evacuated for a few days this January, I asked Betye if she would tell us more about these early etchings, which in my mind had always been more about healing and resilience than destruction.