Christina Nafziger

I am a Chicago-based freelance writer specializing in the visual arts. Recently earning my Masters in Contemporary Art Theory from Goldsmiths University of London, I currently write for local and international publications.

ArtMaze Magazine

Exorcizing of Useless or Harmful Thoughts with Paul Gagner

The satirical paintings of Paul Gagner conjure up the humorous and bizarre nature of the life of an artist. His work includes text like “How to impress and baffle people with artspeak” and “How to do everything and nothing all day. Tomorrow” that is both hilarious and somehow undeniably relatable. The artist’s paintings, which look similar to self-help book covers, poke fun at the seriousness of art and lighten the mood of pretentiousness that can often be found in the art world.
ArtMaze Magazine

Compositions Rich with a Palpable Physicality: Interview with Yevgeniya Baras

Each painting created by artist Yevgeniya Baras is an exploration in meaning, material, and depth formed through her strong visual language. The materiality of each piece is an essential element of the artist’s practice, which becomes evident upon inspection of her painting’s multifaceted surfaces. They are not just textured, but layered with a plethora of fascinating materials, not lacking in diversity or uniqueness.
Sixty Inches From Center

Review: “Woman With A Camera” at the Museum of Contemporary Art Chicago

The single room that held the exhibition provided a perfect amount of breathing room while allowing the viewer to become immersed in the photographs, both as a collection and as individual pieces. The works were shown in a non-linear, almost salon-style display, which created an interesting chance for the viewer’s perspective of each piece to be confronted with alternative pairings as well as provocative overlap and connections between the works.
Sixty Inches From Center

Adrienne Ciskey: Invisible Illnesses and the Power of Play

If you suffer with a chronic illness, specifically one that others cannot see, the anxiety of  whether or not others take your pain seriously, on top of the endless physical battle with your own body, is very real. There is a hierarchy of illness in our culture based on assumptions of “seriousness” that is rarely acknowledged or discussed. A social judgment of validity is made about an illness, and if you are a woman suffering from an illness that is not only invisible but also widely unknown th
ArtMaze Magazine

Jen Mann: “I find relationships the most fascinating, and the relationship you have with yourself…”

Jen Mann’s work takes that all too familiar feeling of what lies on the other side of our computer screens in the form of likes and emojis and presses it into paint. Sometimes her artwork quite literally features this now permanently ingrained, social media iconography, such as a ‘winky face’, lighting up a subject’s features, while other compositions simply just embody that impending feeling of isolation you get when communicating mostly through Instagram. Her work poignantly brings to surface
Create! Magazine

Anna Wehrwein

The paintings of artist Anna Wehrwein contain striking angles and unique perspectives that will pull you into a space of self-reflection and intimacy. Intense fields of colour spread across the composition, flattening foreground and background and creating a still sense of unity amongst the people and their environments. The vivid, outlandish hues that are so distinctive to Wehrwein’s style draw our attention to each seemingly commonplace interaction, allowing us to slow down and find the joy in
ArtMaze Magazine

The Other Art Fair, Event Review (London, 2017)

This past weekend had all kinds of talented artists at The Other Art Fair showing photography, painting, fibre art, drawing, installation art, and even interactive sculpture. As soon as you walk into the space, you are met with welcoming artists who are ready to discuss their work. Unlike most other art fairs, the exhibiting artists are there for you to meet, providing a great opportunity to find out the story behind the artwork.

All That Glitters Is Not Gold at the Phoenix Art Museum

In a world where modern technology has made many traditional artistic processes obsolete, the Center for Creative Photography in Tucson and the Phoenix Art Museum have launched a historical investigation of the platinum print. Referencing the artistic and fiscal value of this photographic method, All That Glitters Is Not Gold is an intimate, chronologically curated exhibition that begins with the invention of the platinum print in 1873, and follows its use and development in portraiture up through its revival in the 1970s and into contemporary culture.