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Philip Taaffe, Sanctum (2015), mixed media on canvas, 77 132 in (image courtesy Luhring Augustine, New York)
While some people are quick to say that painting is dead, its just not true. Artists continue to paint, even in this digital age. Of course, not everyone is painting traditional oils on canvas, and some are even evoking the digital screen with paint. In any case, artists seem to be having no trouble adapting the medium to a more contemporary sensibility.
This Thursday, three painters and three critics will discuss the state and shape of contemporary painting at Cooper Union. All of the artists graduated from the revered art school: Lois Dodd (48), Thomas Nozkowski (67), and Philip Taaffe (77). The critics are Hyperallergic Weekend Editor John Yau, Faye Hirsch, and Barry Schwabsky all lovers of paint. The conversation, titled Rewriting Painting, will attempt to answer lofty questions like: To what extent do the ways in which we write about painting influence both the publics reception of the work and contemporary practice itself?
The event will also commemorate a new series of monographs, the Lund Humphries Contemporary Painters, edited by Schwabsky. Each monograph will be dedicated to a different contemporary painter, as if to remind us that their kind is alive and well. The first three books are devoted to Dodd, Nozkowski, and Taaffe, who will be signing their copies after the panel discussion.
When: Thursday, April 19, 6:308pm...
Left: Marc Chagall, La Tour Eiffel (1929, image courtesy Christies, property of the National Gallery of Canada, Ottawa, sold to benefit the Acquisitions Fund); right: Jacques-Louis David, Saint Jerome Hears the Trumpet of the Last Judgment, (1779, public domain image)
The National Gallery of Canada caused a ruckus earlier this month when it announced plans to sell one of its two Marc Chagall paintings to buy an artwork it would not identify, but described as a national treasure that would otherwise leave the country. Rumors about the mystery work were finally put to rest yesterday, after its owners gave the institution permission to name it: Jacques-Louis Davids 1779 Saint Jerome Hears the Trumpet of the Last Judgment. The museums director, Marc Mayer, said his institutions collection of French art is remarkably comprehensive, with one glaring exception that this work would rectify.
The National Gallery of Canadas ardent goal since learning that Davids Saint Jerome Hears the Trumpet of the Last Judgment was for sale has been to acquire the painting, Mayer said in a statement. Doing so would enhance the national collection dramatically a collection that is made available to sister art museums across the country through our generous loan program. Of equal importance to the Gallery is that a work of this magnitude not leave Canada. That will continue to be our priority....
Imagine you could visualize sounds as color and texture, or perhaps hear colors, feel sounds, and taste shapes. This is how people with synesthesia experience the world. It is a neurological condition where the brain processes stimulation in a way that allows the person to experience several senses at one time. Amsterdam-based artist Daniel Mullen explores this fascinating sensory phenomenon with an ongoing painting series titled Synesthesia.
Made in in collaboration withartist, filmmaker, and synesthete Lucy Engelman,Mullen visualizes how she perceives time, numbers, and letters. Mullen explains in an artist statement, In Lucy's case, when she sees or thinks about time and numbers  she experiences a different color sequence in her mind's eye. He continues, Essentially, she has an ever changing complex and luminous filter to view the abstract concepts of our world.
Although Mullen doesnt experience synesthesia himself, Engelman claims his paintings are the nearest visualization shes ever seen of her experience. At first glance, Mullens artwork looks like three-dimensional sheets of colorful plexiglass, arranged in geometric rows and sequences. However, each incredible piece is meticulously painted with a steady hand, rendered in bright, rainbow hues. Each piece represents how Engelman experiences various times. For example, the 1950's-80's are visualized with 3D sheets of vibrant pink, orange, blue and green. In another piece, representing ancient times between 5132-5097 AD, the colors appear softer, and the lines are thinner.
The statue of J. Marion Sims has been removed from Central Park (illustration by the author for Hyperallergic)
This morning, one of New York Citys most hated statues was removed from its pedestal and taken away. The monument to J. Marion Sims a 19th-century gynecologist performed experimental surgeries on enslaved women, without their consent or the use of anesthesia was lifted from its pedestal at 103rd Street and Fifth Avenue shortly after 8am today, according to ABC7.The statue of J. Marion Sims in Central Park that is being moved to Green-Wood Cemetery (photo by the author for Hyperallergic)
The Sims statue, which stood at the edge of Central Park in East Harlem for decades, was the only public monument earmarked for removal in a report released by the Mayoral Advisory Commission on City Art, Monuments, an...
For the past three years, Detroit-born, London-based photographer Peter Zelewski has been exploring the similarities and differences between sets of identical twins in his ongoing portrait photography series, Alike But Not Alike. Captured on the streets of London against neutral backdrops, Zelewskis duos are of different ages, ethnicities, backgrounds, and styled to dress in matching clothing. This style puts the focus on the subjects, showcasing the siblings unique, unbreakable bond and incredible likeness, but also inviting the viewer to take a closer look and discover each pairs subtle differences.
Zelewski first became intrigued by identical twins when he met 14-year-old twin sisters Kira and Taya. Drawn to their distinct curly red hair and freckled faces, the photographer explains, They had everything I look for in portraiture. Connection, strength, power, directness, intrigue, and a certain amount of unsettledness which I knew would command attention. During their photoshoot, Zelewski described their incredible bond: Their closeness and their uniformity gave the twins a certain air of confidence which seemed to invisibly unite them as one, it was fascinating. Needless to say, I was hooked.
Just what, exactly, is Roxy Music? Those encountering the band for the first time when their self-titled debut came out in 1972 had questions. Were these 50s R&B throwbacks? Ziggy Stardust/Slade/T-Rex like glam rockers? Experimental art-rock-retro-futurists dressed like a Stax funk band on acid? Yes, yes, yes, and then some. The album, at once postmodern, strange, sensual and thrilling, writes Chicago Tribunes Greg Kot, mapped out a new frontier, even as bands like the Rolling Stones and Led Zeppelin dominated the rock landscape.
In the very same year that Bowies Ziggy landed to re-make rock in its image, Brian Ferry and his virtuoso bandincluding standouts Phil Manzanera on guitar and Brian Eno on synths, tape effects, and various treatmentsprefigured a somehow even sexier, weirder, funkier, more disturbing future for pop, charting the territory for bands like Duran Duran, the Cars, Eurythmics, Pulp, and too many more to name. Roxy Music was so effortlessly original that once Bowie exhausted his space alien phase, he turned to Ferry and Eno for inspiration.
Like Bowie, Roxy Music favored saxophones, courtesy of Andy Mackay, who also played the oboe? Manzaneras psychedelic flights were reminiscent of The Doors Robby Krieger, with a Latin American flavor from his early days playing revolutionary Cuban folk songs. Paul Thompsons rhythmic pounding and smooth, country-ish grooves improbably married Moe Tucker and Kenny Buttrey.
Graham Simpson played the bass with an exuberant rush, writes Kot. They were specialists in their field, remarks Ferry, who himself drew from the rockers ev...
Allora & Calzadilla, Untitled (all photos courtesy Culiacn Botanical Garden unless otherwise noted)
When I was 18, I left home for college and vowed to never move back to Culiacn, the northwestern Mexican city where I grew up. There is a clich that small towns seem condemned to that everything remains the same, and nothing ever happens to you unless you leave. My hometown, though small, doesnt entirely fit into that narrative. The home of at least three generations of drug lords, Culiacn is the capital of Sinaloa and one of the most violent cities in Mexico. There, young boys linger around street lights, selling newspapers with headlines that scream the previous days bloody murders: Police Unable to Stop the Wave of Assassinations; Panic at a Funeral; El Teo Has Been Captured. Drivers wave them away, unfazed. Often, bodies appear in bags on the banks of the citys three rivers. They rot in a perpetual heat that reaches 113 degrees in the summer.
With this in mind, the city may seem a strange home for a vast and ambitious contemporary art project. The Culiacn Botanical Garden is a perplexing, awe-inspiring site that took form in 1986, when Carlos Murillo Depraect, a local engineer and botany aficionado, donated his personal plant collection to the government and spent the rest of his life developing its nearly 25 acres. The Garden itself is meticulously kept, but whats really striking what sets it apart from similar public projects are the artworks you encounter while walking its paths. Like plants, they appear to have sprouted from the ground....
Lafcadios Adventures (1953) by Andr Gide.
Edward Gorey claimed that he had negligible training as an artistone semester at the Art Institute in Chicago in 1943 just before he enlisted in the army. He served his time at the Dugway Proving Grounds, a kinda hush-hush operative center where the military...
Workers from the Independent Workers Union of Great Britain stage a flashmob at the Picasso exhibition at Londons Tate Modern (all photos Ron Fassbender)
Members of a British workers union disrupted a Pablo Picasso exhibition at the Tate Modern on Saturday, April 14, targeting the investment company Ernst & Young (EY) for its treatment of cleaners. EY is a chief sponsor for the show, Picasso, 1932: Love, Fame, Tragedy, which opened in early March and runs through September; its cleaning staff at three offices in London are currently facing possible redundancies.
Organized by Independent Workers Union of Great Britain (IWGB), the protest filled the galleries, where workers raised signs that read You say cut back, we say fight back! and Job cuts are not justified! The action follows another surprise protest at EYs corporate workplace, where workers distributed leaflets to other employees at what they see as deeply unjust redundancies.
We find it astonishing that a company such as Ernst & Young, which uses the slogan building a better working world without any sense of irony, spends millions whitewashing its image by sponsoring these sorts of exhibitions, while at the same time throwing its most vulnerable workers on the street without giving it a second thought, Emiliano Mellino, a spokesperson for IWGH, told Hyperallergic....
Banksys year-old project in Bethlehem, The Walled Off Hotel (previously), has just released a new set of souvenirs exclusively available in the hotel shop. The series of works, which are each hand painted by local artists, depict the West Bank barrier in a crumbling state. A hooded figure is featured beside the wall in several of the workseither contributing a fresh piece of graffiti or physically breaking through the wall with mallet in hand. Banksy views these works as anticipatory objects, pieces that might accurately depict the walls end.
The hotel also released a new album during last weeks Palestine Music Expo, featuring international musicians such as Brian Eno, The Black Madonna, Trio Joubran, Roisin Murphy, and Akram Abdulfattah. The work was produced by Block9 during a Creative Retreat at the hotel this past February, and includes seven collaborative songs inspired by Palestines history. The Walled Off Hotel Creative Retreat Album is now available for free on Soundcloud.
Robert Gober, Icarus (1967) graphite on spiral-edged paper, 12 x 9 inches; 31 x 23 cm ( Robert Gober, courtesy Matthew Marks Gallery)
A man with wings, plumed and outstretched, is in full ascension towards the Sun. This man is Icarus. Making a splash at the bottom of the picture is presumably Icarus again, who, as the legend goes, ignored his fathers warnings of flying too close to the sun and plummeted into the sea, melted wings and all.
Icarus (1967), rendered tenderly in graphite on a 12-inch by nine-inch, stained piece of spiral-edge paper, serves as a preface to the exhibition Robert Gober: Tick Tock at Matthew Marks gallery, the American artists fourth at the New York gallery and the first since his remarkable 2014 MoMA retrospective The Heart is Not a Metaphor.
Gober was thirteen when he drew Icarus. Compressing two timelines into a single image, Gober compels the viewer to intuit the in-between. This natural faculty to suggest hidden stories would characterize all his future works to come. In his art, Gober excavated objects from his own life and charged them with symbolic purpose to present the exigencies of the times the politics, tragedies, and anxieties linked to identity and racial issues in a way that is both deeply personal and universal. For instance, having come to prominence during the 80s in New York when the AIDS crisis was in full bloom, Gober would elevate the white washing sink from the basement of his Yalesville childhood home to one of historys most poignant memorial to AIDS victims....
Washington-based artist Dylan Martinez explores the boundaries of human perception with his series of glass sculptures, aptly titled Glass Water Bags. At first glance, you might think these images are of ordinary plastic bags filled with waterjust like the type of bag you would carry a pet goldfish home in. However, you might be surprised to find out theyre actually made of hot-sculpted glass.
Completely solid and weighing around 10-12 lbs each, these incredibly realistic sculptures are complete with trapped, rising bubbles, ripple-like creases, and hand-tied knots. Influenced by traditional glass-making techniques, Martinez takes a contemporaryand often novelapproach to the art. The artist experiments with the boundaries of the material. Through my artwork, Martinez explains, I create scenarios in which the viewer must question their capacity to navigate between reality and illusion. With the largest Glass Water Bag standing at 16 tall, the gifted sculptor reveals, No molds, no resin, every wrinkle was created individually, 100% glass made in the hot shop.
Martinezs fascination with perception stems from that fact that he is red-green colorblind. He explains, Having a deficit in my color vision is an alternative way of seeing. He continues, What is fascinating is that our desires often override our perception of reality and you believe what you think is visible as the truth.
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Wildlife enthusiast Robert Bush Sr set up a trail camera to document the activity around the log, a fallen tree somewhere in the mountains of Pennsylvania where a wide range of animals tended to congregate.
The outdoorsman recently released this compilation of all the critters who have visited the log in the last year. Just some of the animals to have visited the log include: bears, bobcats, porcupines, birds, beavers, minks, and coyotes....
Media artist Refik Anadols work Melting Memories combines data paintings, light projections, and augmented data sculptures to visibly demonstrate how the brain recalls memories. The installation was created with a custom 16 x 20 foot LED media wall and CNC milled rigid foam, and was shown earlier in 2018 at Pilevneli Gallery in Istanbul. In the work, seething swirls move across the works surface, resembling cresting ocean waves, blossoming flowers, and shifting sand.
To generate the data, Anadol conducted experiments at the Neuroscape Laboratory at the University of California, San Francisco. An artist statement describes the technical process: Anadol gathers data on the neural mechanisms of cognitive control from an EEG (electroencephalogram) that measures changes in brain wave activity and provides evidence of how the brain functions over time. These data sets constitute the building blocks for the unique algorithms that the artist needs for the multi-dimensional visual structures on display.
Anadol is a media artist and director who specializes in site-specific public art that explores the intersection of physical and digital reality. Born in Istanbul, the artist is now based in Los Angeles, where he is a visiting researcher and lecturer at UCLAs Department of Design Media Arts. You can see more of his work on his website, as well as on Instagram, Vimeo, and Behance.
In 1712, New York City witnessed a dramatic uprising when over 20 black slaves, fighting against their unjust conditions, set fire to several houses of white slaveowners and fatally shot nine. Known today as the New York Slave Revolt of 1712, the insurgence resulted in the conviction and public execution of 21 slaves, as well as more severe slave codes. While sources often state that these rebels were all men, the historian Dr. Rebecca Hall has identified four women who were captured during the clashing and were tried. Their names were Amba, Lilly, Sarah, and Abigail.
Erased from history books, their stories will now be told in vivid form by Hall, who has devoted much of her career to unearthing the roles of women in slave revolts. Hall is currently working on her first graphic novel, which will highlight female rebels in various 18th-century uprisings, from three in New York to those that broke out on slave ships. Titled Wake: The Hidden History of Women-Led Slave Revolts, the 150-page work emerges out of Halls 2004 dissertation on the same topic. She is now collaborating with independent comic artist Hugo Martinez to produce the storyboards and, through Friday, May 4, is raising $5,900 on Kickstarter to realize it for submission to publishers.
The way the history of slave resistance has been written, this very gendered narrative develope...
In 1976, legendary comic book artist Bernie Wrightson produced a series of paintings for a limited edition set of prints featuring key scenes from the tales of Edgar Allan Poe. The portfolio consisted of eight prints and was limited to an edition...
Among the many acclaimed animated films of Studio Ghibli and indeed among recent Japanese animated films in general those directed by the outspoken, oft-retiring-and-returning Hayao Miyazaki tend to get the most attention. But even casual viewers overlook the work of the late Isao Takahata (1935-2018), the older animator formerly of Toei with whom Miyazaki founded the studio in 1985, at their peril. Though he most often played the role of producer at Ghibli, he also directed several of its films, first and most memorably 1988's Grave of the Fireflies, the story of an orphaned brother and sister's struggle for survival at the very end of the Second World War.
"Grave of the Fireflies is an emotional experience so powerful that it forces a rethinking of animation," wrote Roger Ebert in 2000, adding the picture to his "Great Movies" canon. "When anime fans say how good the film is, nobody takes them seriously. [ ... ] Yes, its a cartoon, and the kids have eyes like saucers, but it belongs on any list of the greatest war films ever made."
No Western critic would frame it quite the same way now, with the implicit disclaimer about the nature of Japanese animation, thanks in no small part to what animators like Takahata have done to show the entire world the true potential of their medium since.
Photographer Olga Barantseva works with faithful, if unlikely, collaborators to produce her gorgeous images; she enlists the help of forest animals. From wolves and foxes to a bear named Stepan, the breathtaking photos combine fantasy, fashion, and a kinship between human and four-legged creatures. The results show the cuddlier side of these animalswhich we often fear as predatorsthat look plucked from the pages of storybooks.
Born and raised in Moscow, Barantseva was exposed to bucolic nature and kind creatures from an early age. These experiences have continued to inform her artistic voice, in addition to reading classic literature. My love for fairy tales has evolved into my magical world where my atmosphere reigns, she explains, the harmony of which I try to convey in my photographs.
To see behind-the-scenes shots of how Barantseva works her photographic magic, follow her on Instagram.
Chiura Obata, A Snow Storm Nearing Yosemite Park Government Center, February 1939 (all image courtesy the Art, Design & Architecture Museum at UC Santa Barbara unless otherwise noted)
SANTA BARBARA You may not have heard of Chiura Obata, but he was a beloved and influential figure among Northern California artists in the early 20th century. Known for his stunning painted landscapes of the West Coast, Obata merged traditional Japanese ink drawing with a modern hand to produce works that are unpretentiously captivating. But Obata also created stirring depictions of life in the United States that invite one to consider the representation of catastrophe, persecution, and distress from the point of view of an immigrant in the early 20th century in 1903, Obata emigrated from Japan to the US as a young man. These are the themes that take center stage in Chiura Obata: An American Modern, on view at UC Santa Barbaras Art, Design & Architecture Museum through April 29. Curated by ShiPu Wang, the exhibition presents a survey of Obatas artistic output from his early days as an illustrator in San Francisco to his reflections on the atomic bomb.
Formally trained in his native Japan, Obata was a life-long practitioner of Japanese ink painting (sumi-e) and created charming depictions of animals and plants with precise brushwork. After emigrating to California, Obata worked as a magazine and newspaper illustrator, and his style shifted. On the morning of the devastating 1906 earthquake in San Francisco, Obata set out with his sketchbook to capture the wreckage. These sketches of crumbled buildings and upturned trees feel like a street photogra...
There may be no sweeter sound to the ears of Open Culture writers than the words public domainyou might even go so far as to call it our cellar door. The phrase may not be as musical, but the fact that many of the worlds cultural treasures cannot be copyrighted in perpetuity means that we can continue to do what we love: curating the best of those treasures for readers as they appear online. Public domain means companies can sell those works without incurring any costs, but it also means that anyone can give them away for free. Anyone can re-publish public domain works, notes Lifehacker, or chop them up and use them in other projects. And thereby emerges the remixing and repurposing of old artifacts into new ones, which will themselves enter the public domain of future generations.
Some of those future works of art may even become the next Great American Novel, if such a thing still exists as anything more than a hackneyed clich. Of course, no one seriously goes around saying theyre writing the Great American Novel, unless theyre Philip Roth in the 70s or William Carlos Williams (top right) in the 20s, who both somehow pulled off using the phrase as a title (though Roths book doesn't quite live up to it.) Where Roth casually used the concept in a light novel about baseball, Williams The Great American Novel approached it with deep concern for the survival of the form itself. His modernist text engages the techniques of what we would now call metafiction, writes literary scholar April Boone, to parody worn out formulas and content and, ironically, to create a new type of novel that anticipates postmodern fiction.
Manchmal ist es einfach gut, wenn auch Hochkultur ihre gewohnten Spielsttten und kulturelle Komfortzone verlsst und sich raus in den ffentlichen Raum wagt. Die Komische Oper Berlin hat fr einen Tag ihre klassische Spielsttte verlassen und ist am Flughafen Tegel aufgetreten. Und das ohne ohne vorherige Ankndigung und zur groen Verwunderung vieler Fluggste, die beim Warten auf den Flug ansonsten eher auf das Smartphone starren und sich in der Wartehalle von den Wetter News und NTV berieseln lassen. hnliches hat die Komische Oper auch schon an der Supermarktkasse in Berlin gemacht. Videos und Bild: Komische Oper Berlin / Youtube Screenshot Gesehen bei den Blogrebellen
Das Projekt Mark Cant See This markiert Orte in der realen Welt, die der Facebook Grnder Mark Zuckerberg nicht sehen kann. We look for places Mark Zuckerberg does not see what we do Und da die Macher der urbanen Kampagne verstndlicherweise keine Facebook Seite haben, sind sie auf der guten alten Plattform MySpace vertreten, wo sie die Fotos der Orte sammeln, die Mark nicht sehen und hren kann (Achtung: seitliches Scrollen ist wieder angesagt). All pictures by courtesy of the artist Wer selbst auch No-Facebook Ort in seiner Stadt markieren mchte, kann die Vorlage zum Ausdrucken hier downloaden.
Der Beitrag Mark cant see this Orte, die Mark Zuckerberg nicht sehen kann erschien zuerst auf URBANSHIT.
Yesterday, Kendrick Lamar won the Pulitzer Prize in Music for his 2017 album, DAMN, a "virtuosic song collection," writes the Pulitzer board, "unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life." This is the first time (since its inception in 1943) that the prize has gone, notes NPR, "to an artist outside of the classical or jazz community." Other recipients have included Aaron Copland, Wynton Marsalis, and Ornette Coleman. You can stream DAMN, which comes with a Parental Advisory warning, on Spotify or right below.
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A quick heads up: The former director of the FBI James Comey has now officially released A Higher Loyalty: Truth, Lies, and Leadership. The 304-page memoir gives you an inside look at Comey's long career in law enforcement. But it's mostly gaining attention because of what Comey has to say about his controversial interactions with Donald Trump--interactions which, The New York Times correctly observes, set "in motion a cascade of political and legal consequences that led directly to the appointment of Robert S. Mueller III as special counsel overseeing the federal investigation into Russian interference in the 2016 election."
You can now buy A Higher Loyalty in hardback and Kindle formats. Or if you start a 30 day free trial with Audible.com, you can download two free audio books of your choice. At the end of 30 days, you can decide whether you want to become an Audible subscriber or not. No matter what you decide, you get to keep the two free audiobooks. A Higher Loyalty can be one of them. It runs 9 hours and is narrated by Comey himself. To sign up for Audible's free trial program here, follow the prompts/instructions on this page.
NB: Audible is an Amazon.com subsidiary, and we're a member of their affiliate program. Also, this post is not an endorsement of the book.
If you'd like to support Open Culture and our mission, please consider making a donation to our site. It's hard to rely 100% on ads, and your contributions will help us provide the best free cultural and educati...
Das Pariser Grafik und Motion Design Studio Cosmografik hat gemeinsam mit Arte das Computerspiel Vandals entwickelt und released, in dem es darum geht, unbemerkt Graffiti und Street Art in der Stadt zu platzieren. Der Spieler luft durch die simulierten Stadtwelten von Paris, New York, Berlin, So Paulo und Tokio alles Stdte, in denen Graffiti und Street Art eine groe Bedeutung fr das Stadtbild haben und sucht nach Spots und Mglichkeiten die Stadt zu bomben und zu verschnern. Das erste verdeckte Videospiel in der Welt der Street Art Hommage an Graffiti, dieses Trick-and-go-Spiel fr Smartphone und PC / Mac taucht den Spieler in fnf der Top-Street-Art-Stdte der Stadt Paris, New York, Berlin, So Paulo und Tokio auf der Suche nach neuen Oberflchen um einige der emblematischsten Werke und Knstler des Genres zu treffen. Das Videospiel ist ist als Download erhltlich fr iOs, Android, PC und Mac. All pictures by courtesy of ARTE / Cosmografik
Der Beitrag Vandals Ein Computerspiel mit der Mission Graffiti Bombing und Street Art erschien zuerst auf URBANSHIT.
Freedom is not something that anybody can be given, James Baldwin wrote in contemplating how we imprison ourselves, freedom is something people take and people are as free as they want to be. It is hard not to instinctually bristle at this notion we all like to see ourselves as autonomous agents of our own destiny who would never willfully relinquish our freedom. And yet we do beyond the baseline laws of physics and their perennially disquieting corollary regarding free will, which presupposes that even the nature of the faculty doing the relinquishing is not the sovereign entity we wish it were, we are governed by myriad ideological, social, economic, political, and psychological forces that mitigate the parameters of our freedom. Neuroscientist Christoph Koch put it perfectly in his treatise on free will: Freedom is always a question of degree rather than an absolute good that we do or do not possess.
What determines the degree to which we are free is what the great German humanistic philosopher and psychologist Erich Fromm (March 23, 1900March 18, 1980) explores in his first major work, the prescient 1941 treasure Escape from Freedom (public library) a book Fromm deems a diagnosis rather than a prognosis, written during humanitys grimmest descent into madness in WWII, laying out the foundational ideas on which Fromm would later draw in co...
A sculpture of an alligator carved from the trunk of a felled tree in Lalbagh Botanical Gardens (all photos by the author for Hyperallergic unless indicated otherwise)
BENGALURU, India Summer hadnt officially turned the corner yet, but the sun still bore down heavy on the morning in February when I took myself to Lalbagh Botanical Gardens, one of this citys famous lung spaces. It was perfect ice cream weather; the right time of the day, too, when the picnickers were still several hours away and the gardens were mostly empty, save some teenage couples cutting college to cuddle under the wide old trees and tourists checking a quick walk through the gardens off their to-do lists. The gardeners and other employees of the government-run Lalbagh were still recovering from the just-concluded annual flower show, a biannual extravaganza that brings several hundred thousand people to the 240-acre gardens. I was looking for a set of wood sculptures that had been on the local news for having been made out of centuries-old trees that fell during a storm a few months earlier....
Leopoldo Pea, San Fernando, CA (2011), Pelota mixteca participants return the play during a match in San Fernando. (courtesy the artist and Fowler Museum)
Los Angeles is home to the largest Oaxacan population outside of Mexico, including large numbers of indigenous Zapotec and Mixtec people. Its no wonder then that you can find myriad examples of traditional Oaxacan cuisine, music, and culture throughout LAs various Oaxacan enclaves. (Oaxacan influence is not limited to LA, however, as the term Oaxacalifornia illustrates.)
One lesser-known tradition at least to outsiders that has flowed north, is pelota mixteca or Mixtec-style ball. Played on a long, narrow court with two teams of five players, it loosely resembles a net-less game of tennis. Instead of rackets, however, each player wears a padded, decoratively studded glove, with which they hit a large rubber ball towards the opposing team. Currently on view at the Fowler Museum, the exhibition Pelotas Oaxaqueas / Oaxacan Ball Games features photographs by Leopoldo Pea, who has documented this phenomenon in Oaxacan expat communities across Southern and Central California.
In conjunction with the exhibition, the museum will be hosting a conversation this Saturday on Oaxacan Ball Games and Mexican Indigenous Migration. Joining Pea will be Dr. Gaspar Rivera-Salgado, UCLA Center for Labor Research; Fidel Salazar Rosales, president of AJDATEO (Asociacin de Juegos y Deportes Autctonos y Tradicionales del Estado de Oaxaca); and Chief Curator Matthew H. Robb to discuss the games origins and its role in maintaining cultural links across borders. Following the discussion, there will be a pelota mixteca demonstration on Wilson Plaza.
When: Saturday, April 21, 24pm
A scene from Solanges Metatronia (Metatrons Cube) (2018) (all images courtesy the artist)
The Knowles sisters had a busy weekend. The day before Beyonc blew away the crowds at Coachella, her younger sister Solange premiered a new video of a performance art piece at the Hammer Museum in Los Angeles. The work, a record of a performance that exists primarily as a video but also as a sculptural stage contraption, is titled Metatronia (Metatrons Cube) (2018), and for now lives exclusively on the Hammers website. This summer, the sculpture Solange created for the piece, Metatrons Cube (2018) an all-white stage of sorts thats equal parts MC Escher, James Turrell, and Sol LeWitt will travel to locations throughout the US, though a publicist for the project could not confirm when or where it might turn up.
The performance features more than 50 dancers moving in and around pristine white platforms and Solanges sculptural set in a verdant landscape, to the tune of a minimalist score she co-wrote with John Kirby. The dancers synchronized and sequenced movements (choreographed by Brennan Gerard and...
Installation view of Juliette Dumas: Angels at Silas von Morisse Gallery (all images courtesy the artist and Silas von Morisse Gallery)
For an artist to address the whale, a subject thats been romanticized for two full centuries and exposed to every level of public discourse from international litigation to grade school posters, would require a fresh perspective, which is what I believe Juliette Dumas has managed to summon in her current exhibition at Silas Von Morisse. Applying rather drastic techniques devised specifically for an aspect of the subject with which she is passionately engaged, a topic as worn as our relationship to our Cetaceous cousins is once again revised.
Titled Angels, the show consists of a half-dozen paintings of various dimensions, several quite large, presented in a two-panel format that employs its dividing vertical as an axis for the symmetrical image of a whales flukes. The notion that flukes resemble an angels wingspread is a troublesome allusion in the context of a subject that has borne more than its share of mawkish hyperbole. Yet its vaguely ethereal connotation is surprisingly adaptable to the unusual thesis with which Dumas paints her subject. Each works actual title is more pragmatic, basically Whale Fluke followed by a citation of a distinguishing feature, either a color scheme or a name, like Charlie or Neri names, I assume, of living and breathing whales....
South African street artist Sonny, known for his large animal murals, goes inside the gallery for an exploration of the precarious balance between mankind and the animal kingdom. For To the Bone, Sonny has created a series of paintings and sculptures to explore the possible extinction of beloved animals around the globe.
Each individual portrait, from gorilla to panda, elephant to rhino, is an intimate look at the emotional, cultural, and economic price we'll pay should we let these animals fall into extinction. With half of their faces stripped down and decorated with the pattern of the tribes local to each species origin, and gold highlighting the body part prized by poachers, in one canvas Sonny strikes at the heart of this urgent issue.
In addition to the canvases, Sonny produced a set of hand-painted sculptures. Each canvas is paired with a skull replicas as a haunting reminder of what will remain if we don't put an end to the poaching and environmental acts that place the animal kingdom at risk. As an artist, Sonny is not only letting his creativity speak to important issues, but he's also helping raise funds. A limited set of hand-finished prints will be available during the exhibition, with proceeds benefitting Project C.A.T. The organization, which is a collaboration between Discovery and the World Wildlife Foundation, helps conserve almost 2 million acres of land in India and Bhutan in order to ensure a healthy habitat for tigers.
In advance of To the Bone, which runs from May 17 to May 19, 2018 at 393 Broadway, New York, NY, we spoke to Sonny about his concept for the project and what it means for him to use his art to promote charitable causes. Read on for our exclusive interview.
Left: Hank Willis Thomas, The natives will get restless, 1976/2015 [detail] (2015), digital chromogenic print, 40 x 40 3/9 inches. Right: Hank Willis Thomas, Bleach and Glow, 1975/2008 [detail] (2008), LightJet print, 36 x 27 inches (courtesy the artist and Jack Shainman Gallery, New York)
Renowned conceptual artist Hank Willis Thomas (b. 1976) has built his career investigating issues of American consumer culture, particularly as it relates to African-American subjects. His projects often appropriate images drawn from advertising campaigns to investigate the subtle and not so subtle ways in which ads reinforce ideas about race and race relations. The Block Museum of Art at Northwestern is proud to present Hank Willis Thomas: Unbranded, (April 14August 5, 2018), showcasing some of Thomass most well-known works interrogating how advertising images reproduce and reinforce the changing American ideals of race and femininity.
The exhibition includes selections from two related bodies of Thomas work, the 200508 series Unbranded: Reflections in Black by Corporate America 1968-2008 and the 2015 series Unbranded: A Century of White Women 1915-2015, both drawing directly from the visual repertoire of American print advertising from the past century. Within the images, Thomas digitally removes slogans and product names from historical and contemporary advertisements, un-branding them and asking us to confront the impact of images on the popular imagination.
Hank Willis Thomas uses appropriation as a strategy to catalyze thinking about the value system operating within images that circulate in consumer culture, said Lisa Corrin, the Block Museums Ellen Philips Katz Director. How does advertising shape our collective sense of self and individual sense of self-worth? How does it commodify race and gender? We hope this presentation of Hanks work will be a springboard for lively discussion of these questions.
The Block Museum of Art at Northwestern University is free and open to all.
Hank Willis Thomas: Unbranded continues at the Block Museum of Art at Northwestern University (40...
On April 15, 2013, a joyous moment for those participating in the Boston Marathon turned to tragedy, when two homemade bombs detonated close to the finish line. Three people lost their lives, while hundreds of others were injured, many losing limbs. Five years later, Dear World has brought together people affected by terrorism around the world for a powerful set of portraits that share their stories.
In this age of infinite information, these specific stories become blurred together and summarized by the name of the location. Orlando. Quebec City. Nice. Parkland, Dear World writes. We want the world to hear the stories behind these headlines and view the portraits that Dear World documents of the individuals' experience, loss, and road to recovery. By putting faces, names, and words to these events, Dear World reminds us of the real-life toll that lasts well beyond the headlines.
In an unfortunate era where mass shootings and bombings have become a common occurrence, the series is a poignant reminder that...
Whoops, we misattributed that last one. It's actually Rumpelstiltskins doing, but the by-morning-or-else deadline that drives the Brothers Grimm favorite is not dissimilar to the ultimatum posed to disgraced medieval monk Hermann the Recluse: produce a giant book that glorifies your monastery and includes all human knowledge by sunrise, or we brick you up Cask of Amontillado-style.
Why else would a book as high-minded as the Codex Gigas (Latin for Giant Book) contain a full page glamour portrait of the devil garbed in an ermine loincloth and cherry red claws?
Perhaps its the 13th-century equivalent of sex sells. What better way to keep your book out of the remainder bin of history than to include an eye-catching glimpse of the Prince of Darkness? Hedge your bets by positioning a splendid vision of the Heavenly City directly opposite.
Notable illustrations aside, the Codex Gigas holds the distinction of being the largest extant medieval illuminated manuscript in the world.
Weighing in at 165 lbs, this 3-foot tall bound whale required the skins of 160 donkeys, at the rate...
In this neat little timelapse, artist Josie Lewis paints a map of the USA using watercolors. Im not sure her exact technique but Im guessing she used some kind of clear paint or glue to keep the states separated and prevent the paint from bleeding.
For those interested, prints are available through her website.
From one-day workshops to semester-long courses, take the opportunity to immerse yourself and be inspired with School of Visual Arts summer 2018 continuing education coursework. Develop your skills in Interior Design, Photography, or Fine Arts; hone your visual acumen with Visual Narrative, Design, or Visual and Critical Studies; advance your creative career with Film and Video, Illustration and Cartooning, Animation, or Computer Art and Visual Effects; and stay on the cutting edge through studies in Advertising, Professional Development, and the Visible Futures Lab.
School of Visual Arts has been a leader in the education of artists, designers and creative professionals for more than six decades. With a faculty of distinguished working professionals, dynamic curriculum and an emphasis on critical thinking, SVA is a catalyst for innovation and social responsibility. SVA represents one of the most influential artistic communities in the world.
Wie kommt eigentlich aktueller deutscher Rap in den USA an? Vier us-amerikanische Studenten haben sich im Deutschkurs an der Universitt offenbar genau damit beschftigt und kurzerhand ein German Rap Video gedreht mit mehr oder weniger tiefgrndigen Texten, Autotunes, Stimmverzerrer und allem was dazu gehrt. Ich trage nur Supreme und die Kosten sind extreme So, oder so hnlich wird sich aktueller deutscher Hip Hop vermutlich aus der Sicht eines Amerikaners anhren und anfhlen. Letztes Jahr wir hab gewonnen Zwei. Dieses Jahr kannst du nicht schlafen ein Video und Bild: Chaffin Productions / Youtube Screenshot 3 jungs, Cole Chaffin, Brandon Romano, and Drew Engh, haben das beste lied von 2018 gemacht ber den Ruhm folgendes das video vom letzten Jahr. Alles in diesem Video ist ein Witz und nichts sollte offensiv oder ernst genommen werden. Also, lehn dich zurck, und geniee! Gesehen bei Fernsehersatz
Der Beitrag Ein German Rap Video aus Sicht amerikanischer Studenten erschien zuerst auf URBANSHIT.
Faced with the question, who are the most important philosophers of the 20th century?, I might find myself compelled to ask in turn, in respect to what? Ethics? Political philosophy? Philosophy of language, mind, science, religion, race, gender, sexuality? Phenomenology, Feminism, Critical theory? The domains of philosophy have so multiplied (and some might say siloed), that a number of prominent authors, including eminent philosophy professor Robert Solomon, have written vehement critiques against its entrenchment in academia, with all of the attendant pressures and rewards. Should every philosopher of the past have had to run the gauntlet of doctoral study, teaching, tenure, academic politics and continuous publication, we might never have heard from some of historys most luminous and original thinkers.
Solomon maintains that nothing has been more harmful to philosophy than its professionalization, which on the one hand has increased the abilities and techniques of its practitioners immensely, but on the other has rendered it an increasingly impersonal and technical discipline, cut off from and forbidding to everyone else. He championed the passionate life (say, of Nietzsche or Camus), over the dispassionate life of pure reason. Let me be outrageous and insist that philosophy matters. It is not a self-contained system of problems and puzzles, a self-generating profession of conjectures and refutations. I am sympathetic to his arguments even as I might object to his wholesale rejection of all academic thought as sophisticated irrelevancy. (Solomon himself enjoyed a long career at UCLA and the University of Texas, Austin.)
But if forced to choose t...
Over the last 13 years, artist Jos Naranja has been filling pocket-sized notebooks with his own visual diary. By illustrating his daily experiences, observations, ideas, and memories, Naranja considers his ongoing project as a love letter to notebooks, a flight of fancy and also a part of [him]. Each of Naranjas notebook pages are packed full of his own writing, illustrations, stamps, and photos, all of which beautifully document the life of this well-traveled artist.
After discovering the 9x14cm, 192-page Moleskine notebooks in 2005, Naranja fell in love with their compact size. Today, the self-described notebookmaker handmakes his own, and even shares his bookbinding process on his blog, where he reveals, The notebook made by yourself offers a higher level of satisfaction than any other. You add the passion and love for it, your favorite paper and details. You add a part of yourself in it.
From color studies and botanical illustrations to stories, personal ponderings, and even hand-drawn board games, Naranjas sketchbooks are an incredibly intimate view into the artists mind. On one page, he illustrates a route map of his trip through America, and on another, he draws characters from his favorite movie, The Handmaiden. Naranja describes his work as a vault of dreams, ideas and experiences.
Naranja sells an edited compilation of his best work in an elaborate, multilingual book called The Orange Manuscript. Find out more on his website, and follow the artist on Instagram for daily updates from his sketchbooks.
Colectivo Licuado is an artistic duo from Montevideo in Uruguay, created 5 years ago with Florencia Durn and Camilo Nunez. Mastering spray paint with a hyperrealistic style, their creations juxtaposes culture and traditions of the environment in which they work with their own style and a touch of art nouveau: skin tones, drapes, lighting and shadows are surreal.
For the Crystal Ship Festival, Colectivo Licuado paid tribute to
Ostend, the city by the Sea.
With their mural featuring two women, they wanted to illustrate a balance between the calm and the storm at Sea.
The standing tall blond girl represents storms drawing strings of winds, while the seated brunette is peaceful and having a protecting hand on the boat.
Check pics of the work in progress below....
Ackroyd & Harvey, Satanic Formula (after Senanayake) (2017, all photos courtesy Spencer Museum of Art, the University of Kansas)
In the 2018 film Annihilation, an alien intelligence transforms a swath of coastal wilderness into a mutated landscape. Separating this so-called Area X from the rest of the world is rainbow-colored slick that modifies the DNA of anything living under its umbrella including humans. The film, like the novel its based on, is science-fiction. But in the Anthropocene, a term scientists use to describe our age of unprecedented human influence over the natural world, the film is a helpful reminder that our relationship with nature is symbiotic and interdependent.Israhel van Meckenem the younger, The Lovers (c.1470-1500), Spencer Museum of Art, The University of Kansas, Gift of the Max Kade Foundation
That relationship is examined throughout Big Botany: Conversations with the Plant World, an impressive art exhibition currently on view at the Spencer Museum of Art in Lawrence, Kansas. Timely and interdisciplinary, the show explores how humans have historically understood the plant world, and how we ought to reconsider it as we degrade the planet with greenhouse gases and ecological destruction.
Among the oldest objects on display is The Lovers, a late-1490s engraving by Israhel van Meckenem the younger. It depicts a pleasure garden, in which a man and woman sit under an archway of flowers, presuma...
Colossal is thrilled to announce the summer show, Inflatable: Expanding Works of Art at San Franciscos Exploratorium, a museum dedicated to science, art and human perception. Led by our founder and editor-in-chief Christopher Jobson, Colossal has worked closely with the Exploratorium team to curate the museums summer 2018 exhibition. Inflatable brings together artists from around the world who work in the mediums of textiles, technology, and air.
Jason Hackenwerth (previously), renowned for his massive balloon sculptures that often simulate the universal biology of living things, will be building an inflated sculpture comprised of thousands of hand-tied balloons. Cauldron Veil will be built in front of the public at the Exploratorium in the days before the exhibition opening, and hoisted up to the ceiling where it will be suspended over visitors.
Tasmania-based artist Amanda Parer (previously) examines the relationships between humans and our natural surroundings in her large-scale white inflatable sculptures. Parers series, Fantastic Planet, includes two enormous humanoid figures that will be hard to miss as they tower over gallery walls.
Jimmy Kuehlne taps into interactivity, wonder, and humor in his diverse range of artworks. For Inflatable, hell be building a forest of gl...
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The spring season is synonymous with flowers. From tattoos to clothing, wearing colorful blooms allows us to celebrate the longer days and warmer weather. But for those that cant get enough of everything flowers, hair stylist Alison Valsamis has created the ultimate braided updo that you can wear to a music festival, wedding, or even a day when youre feeling particularly fancy. Her rose-inspired style makes it look like your head is sprouting a beautiful flower (or two).
If youd like to produce this look for yourself, Valsamis offers some guidance. To create these roses, I start with a small 3-strand braid rolled up to serve as the centermost part, she explained to Allure. Next, I alternate between standard fishtails and Dutch fishtails pulled ap...
The biggest threat to America today is not communism. It's moving America toward a fascist theocracy, and everything that's happened during the Reagan administration is steering us right down that pipe.
Thats Frank Zappa, a self-declared conservative battling a theocrat and two establishment pundits on this clip from a 1986 episode of political debate show Crossfire. It was one of many TV interviews Zappa did during the mid-80s when the Parent Music Resource Center headed by what he called Washington Wives got themselves overly concerned about rock music lyrics and, as usual, thought of the children. (One of those Wives was Tipper Gore, then-wife of Al Gore). There were congressional hearings, one of the only times Zappa was on the same team as Twisted Sisters Dee Snyder and soft-folkie John Denver).
The whole kerfuffle was one and a piece with the rise of the Religious Right under Reagans administration, and eventually boiled down to a Parental Advisory sticker slapped on LP and CD covers. Zappa saw the move as a cynical ploy to introduce moralistic censorship to the arts while burnishing the careers of up-and-coming senators like Al Gore (and that certainly worked out for him).
The 20 minute clip is notable for the differences compared to the present. Watching this contentious debate between four men all sitting very close to each other is rare nowadaysthe closest we get is on Bill Mahers weekly show, whereas the rest of cable news is a collection of talking heads beaming in from separate studios. The mendacity and vitriol directed towards Zappa is also surprising, especially as Zappas own lyrics werent the ones being attackedthose of Madonna and Prince were instead. The hotheaded blather out of religious zealot John Lofton is a wonder to behold, a man so theocratic he later railed against Ann Coulter and Sarah Palin for leaving the kitchen and getting into politics. I love it when you froth quips Zappa, although even his stoicism is undone at one point. Tell you whatkiss my ass! Zappa blurts out after Lofton calls him an idiot.
Both Tom Braden and Robert Novak are stod...
American designer and illustrator Jenna Barton combines watercolor and digital processing to create mysterious anthropomorphic scenes of dogs, foxes, deer, and other four-legged beings. These eerily rendered creatures often have blank glowing eyes which suggest the animal is possessed or hiding a deep inner world.
Barton is based in Utah, which translates into her work through broad sweeping pastures and farmland illuminated by twilight. These settings add to the heightened tension presented in the animals demeanor, while providing a fitting background for her editorial illustrations, album art, game artwork and custom tattoos. You can buy select prints through her online store, and view more of her animal-based illustrations on Instagram and Tumblr.
Cheryll Leo-Gwin and Stewart Wong, rendering of View from Gold Mountain (2018), proposed as a new public artwork in Albuquerque (all images courtesy Bernalillo Countys Public Art Program)
In 1882, New Mexicos territorial supreme court ruled that Asian Americans had the right to testify before a judge. The decision set a major precedent that spread to courts in other states and territories, but it remains an overlooked breakthrough in the history of civil rights. Too often, its overshadowed by the Chinese Exclusion Act, a federal law from the same year that limited Chinese immigration and influenced decades of xenophobic policies.
Last month, officials in Bernalillo County, Albuquerque decided to commemorate this little-known case, Territory of New Mexico v. Yee Shun, by approving a public sculpture in its honor. Envisioned by Chinese-American artists Cheryll Leo-Gwin and Stewart Wong, the design depicts a giant plumb bob balanced on its tip, to stand outside a district courthouse. It is tilted as a metaphor for tipping the scales of justice, Leo-Gwin told Hyperallergic. However, the plumb in motion ultimately finds stability and balance. A braid, meant to represent the queue hairstyle, runs down its surface and separates into three strands. They rise up at the plumbs top to support three gourds, symbolizing the three branches of government....
Recently, Dangerous Minds shined a light on the shady Tiger Lily Records, the tax shelter label owned...
Installation view of Ilonka Karasz, Works from the Collection (photo by Matt Flynn Smithsonian Institution)
Standing in the Ilonka Karasz exhibition at the Cooper-Hewitt, Smithsonian Design Museum it struck me that the reality of design history and my understanding of it stood at odds with one another. Karaszs work spans from the 1910s to the 1970s and across multiple medias including textiles, illustration, and industrial design. Throughout, she displays a preternatural understanding of her diverse materials as well as keen sense of the prevailing zeitgeist in each of the divergent decades her career encompassed. That I had never heard of her seems almost inconceivable.
Teapot (19201925), one of her earliest works in the exhibition, combines the soft touch of Art Nouveau with a simplicity of form that speaks to the functionality of Bauhaus. There is also something utterly art deco about this work one could easily imagine Ert using it to pour a cup against a Manhattan backdrop.Ilonka Karasz, Teapot (ca. 192025); electro-plated nickel silver, walnut; H x W x D: 11.7 x 15.9...
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If youre truly passionate about something, then you find a way to pursue iteven when there seem to be insurmountable obstacles in your way. Indonesian professional photographer Achmad Zulkarnain is a shining example of this fact. Born without hands and legs, he has gained international attention for his work, all of which he does on his own.
In a short video by Great Big Story, we get a peek into Zulkarnains world. I dont let my limitations limit my steps forward, he begins, or limit my dreams. He started his photography journey while taking ID card pictures in his village. I thought photography was really interesting, he recalls. After buying a camera on credit, he eventually turned his hobby into a career.
Through his physical challenges, Zulkarnain demonstrates his ingenuity and ability to adapt to a world built for able-bodied people. He has his own custom-built car that allows him to travel to far places and capture beautiful backdrops. And using an extra bit of skin on his arms, he can push the camera...
A new annual award that reinforces MADs commitment to celebrating the next generation of artists working in and advancing the disciplines that shaped the American studio craft movement, the Burke Prize is an unrestricted $50,000 award made to a professional artist under the age of forty-five working in glass, fiber, clay, metals, or wood.
Named for Marian and Russell Burke, two passionate collectors of craft and longtime supporters of MAD, the Burke Prize will be determined by an annual jury of professionals in the fields of art, craft, and design following an open application process.
Eligible applicants are professional artists under the age of forty-five working in glass, fiber, clay, metals, or wood. Applicants must be American citizens or permanent residents, living or working within the continental United States, Alaska, Hawaii, Puerto Rico, Guam, or the US Virgin Islands.
The applications will be reviewed by a jury led by Shannon R. Stratton, William and Mildred Lasdon Chief Curator at MAD. This fall, the Museum will present an exhibition of work by a selected group of finalists of the Burke Prize, prior to the announcement of the first winner at MAD Ball.
Michael Radyk, Director of Education, American Craft Council; Editor-in-Chief, American Craft Inquiry; Artist
Jenni Sorkin, Associate Professor, History of Art and Architecture, University of California, Santa Barbara; Art Historian & Critic
Namita Gupta Wiggers, Director, Master of Arts in Critical and Historical Craft Studies, Warren Wilson College; Director and Co-Founder, Critical Craft Forum
Applications due on Monday, April 30, 2018.
Opitcal (or visual) illusions have a way of captivating us and shaking up our reality. Many of us rely on our vision to validate and make sense of the world around us. When you are presented with a fact that your eyes cannot confirm, it can be a bit jarring.
Weve posted plenty of illusions on the Sifter but we think the three below are the cream of the crop. Take a look and we guarantee one of them will make you question your eyesight.
Tom Waits is in some sense the poster boy...
This morning I legitimately woke with an image of Kermit the Frog with soulless stoner eyes staring through my soul, wondering if I was remembering a terrifying image I had actually seen on if it was conjured in the darkest nightmare-worlds of the subconscious. It bothered me enough to...
The elderly Lou Andreas-Salom, portrayed by Nicole Heesters, reflecting on her life to the young Ernst Pfeiffer (all photos courtesy and Cinema Libre Studio unless otherwise noted)
Lou Andreas-Salom led an almost infinitely varied life. The Russian-born German polymath (1861-1937) was a prolific novelist, an essayist whose work earned the praise of Sigmund Freud, one of the first practicing psychoanalysts, and a pioneer of the feminist movement in her writings on women and sexual pleasure. She was also the muse of some of the most prominent fin-de-sicle thinkers, such as Friedrich Nietzsche, Paul Re, and Rainer Maria Rilke. Her life could certainly be called cinematic.
The movie Lou Andreas-Salom, The Audacity to be Free will debut in the US this week, after a successful run in Europe in the past two years. The film, directed by Cordula Kablitz-Post, paints an endearing portrait of Salom. Using the convenient narrative device of the frame story, it portrays an elderly Salom dictating her memories to the philologist Ernst Pfeiffer. (The real-life Ernst Pfeiffer edited Saloms archive.)
We see Salom grow up in a well-to-do family in St. Petersburg, where she stubbornly refuses to adhere to the moral code of a proper young lady, gravitating instead to the writings of Spinoza and Aristotle. When her tutor, a pastor 40 years her senior, makes a pass at her and asks for her hand, she swears never to get romantically involved with any man.
She progresses through a quintessential belle-poque fantasy, full of lakeside sojourns, intellectual and literary salons, andbanter with philosophers and literatiShe initially sets out to form a trinity with Friedrich Nietzsche and Paul Re, a sort of chaste communal living for the sake of spiritual and intellectual enlightenment, but, not surprisingly, the plan goes so...
Dublin-based artist Gillian Corcoran finds inspiration in her local landscape. As the founder of eco-friendly jewelry line Lost Forest, Corcoran crafts whimsical works of wearable art that incorporate real native wildflowers, fungi, and organic curiosities harvested from the Irish countryside into their one-of-a-kind designs.
Ranging from dazzling pendants to eye-catching earrings, Corcoran's bespoke creations highlight the beauty of all-natural materials. Each accessory features flora encased in pine resina lustrous material known for both its glossy appearance and green' designand framed in glistening gold. Meticulously arranged by Corcoran, each bunch of plants forms a miniature landscape, resulting in a unique looking glass that reveals a magical secret world to those who peer through.
In addition to offering statement pieces that are aesthetically alluring, Lost Forest also aims to bring customers closer to the natural world, culminating in a collection of jewelry with a meaningful message. They are a reminder to respect and appreciate Mother Nature and our local surroundings, Corcoran tells My Modern Met, and they allow the wearer to carry a little piece of nature with them wherever they go.
If you'd like to pick up your own pretty piece of wearable art, stop by the Lost Forest shop.
Rosa Bonheur, Muletiers espagnols traversent les Pyrnes (1875, via Wikimedia)
Rosa Bonheur, the 19th-century French artist whose paintings of animals made her internationally renowned, made many unconventional choices in her lifetime. She famously obtained a special permit to wear mens clothing, supported herself with her art, and favored the companionship of women. She was an unwed spinster by traditional standards but she considered herself twice married, at least in a spiritual sense, to women. Remarkably enough, each union began with a portrait.A photograph of Rosa Bonheur (right) with Natalie Micas in Nice, France (1882, via Wikimedia)
Bonheur was a teenager when she met her first partner. In 1836, when she was 14, her father was commissioned to paint a portrait of a local girl, Nathalie Micas. Almost immediately, Bonheur and Micas felt a strong affection toward one another, and they eventually decided to spend their lives together. Micas supported Bonheur as she built her illustrious career, largely tending to household affairs so that Bonheur could focus on painting. Their partnership continued for 50 years, until 1889.
In June of that year, Micas died, and Bonheur was heartbroken. A few months passed before Bonheur met a young American portrait painter, Anna Klumpke. She was acting as an interpreter for an American businessman who had given Bonheur horses, one of her favorite subjects....
Paper Movements ist eine Reihe kinetischer Installationen von Eginhartz Kanter. Fr seine Arbeiten nutzt der sterreicher den Wind von vorbeifahrenden Zgen, der die Installationen aus Papier und Zeitung zum Leben erweckt. Wir haben schon lange nicht mehr so gute konzeptionelle und gleichzeitig sthetische Arbeiten gesehen. Dabei sind die Arbeiten bereits rund sieben Jahre alt und stammen aus dem Jahr 2011. All video und stills by courtesy of the artist
Der Beitrag Kinetische Papier-Installationen, die durch den Fahrtwind von vorbeifahrenden Zgen aktiviert werden erschien zuerst auf URBANSHIT.
Here is some very good new music. Owen Broder Heritage (ArtistShare) This album is a beam of sunlight. From the opening notes, it greets you with warm tones, chipper tempos and melodies like a wide smile. Owen Broder bounces around between various early-American music forms, differentiating a bit here and there, but 
as explained in this video by the Ancient Architects youtube
page, it seems possible that all the giant Sarsens and all the
accompanying Bluestones of the world-famous Stonehenge monument
were local to the vicinity of Salisbury Plain i.e. not transported
for tens or hundreds of miles, respectively.
Fast genau zwei Jahre nach der letzten Einzelausstellung CORPORATE IDENTITY in der Hamburger Golden Hands Gallery, stellt das Knstlerduo MOSES & TAPS mit einer neuen Solo Show in Hamburg aus. Unter dem Titel DO NOT ENTER erfinden die Topsprayer und Vorreiter des Konzeptvandalismus sich und ihre Arbeit auch dieses Mal wieder komplett neu. Mit der neuen Ausstellung ffnen MOSES & TAPS eine weitere, neue Stilrichtung in ihrer Kunst und schaffen auch dieses Mal wieder eine konzeptuelle Melange zwischen dem Arbeiten im ffentlichen Raum und in der Galerie. Wer in den letzten Tagen mit offenen Augen durch die Stadt gefahren ist, wird festgestellt haben, dass DO NOT ENTER nicht nur der Titel der kommenden Ausstellung in der Galerie ist, sondern mehr. All pictures by courtesy of Golden Hands Gallery MOSES & TAPS DO NOT ENTER Opening: 19. April 2018 / 19 bis 22 Uhr GOLDEN HANDS GALLERY Kaiser- Wilhelm- Str. 85-8720355 Hamburg www.goldenhandsgallery.com Um immer auf dem Laufenden ber die Arbeit von Moses & Taps zu sein, folgt dem Knstlerduo auf Instagram.
Der Beitrag MOSES & TAPS DO NOT ENTER Ausstellung in der Golden Hands Gallery erschien zuerst auf URBANSHIT.
For many readers out there, the publication of a new Malcolm Gladwell article ranks as an event demanding immediate attention. They'll read whatever he writes, not just because they enjoy his style but because they trust his instinct for finding fascinating subjects, from coffee to health care, college rankings to dog training, shopping malls to school shootings. How did he develop that instinct? He reveals aspects of his idea-generating process in the seventeen-minute interview with New Yorker editor David Remnick just above. It turns out that, just as with most of us or as it would ideally go with most of us Gladwell's ideas sprout organically from his strengths.
But those strengths, in turn, sprout organically from his weaknesses. An early New Yorker assignment, handed down by then-editor Tina Brown, had Gladwell covering the 1989 attack on the woman referred to, at the time, as the Central Park Jogger. Instead of doing the kind of prolonged, emotional interviews many reporters would have done with the victim's friends and family, he instead contacted the surgeon who operated on her, ending up with a piece on "practice variation in medicine," the phenomenon whereby different medical practitioners in different regions of the country end up going about their job in persistently different ways. "They can't seem to get everyone on the same page," as Gladwell frames the problem.
The intersection of the New Yorker's tradition of and expectation for long-form pieces with his own inability to perform traditional reportage gave Gladwell a sense of where he should look for promising leads. Rejecting character as a hook, he instead goes looking for intriguing theories, operating on the conception of most writers as "experience-rich and theory-poor." Instead of simply reporting on the latest school shooting, for instance, he wrote about a Stanford sociologist's theory of riots that he could apply to the phenomenon of school shootings themselves. His next book, about which he reveals a thing or two in this interview, deals in part with a different kind of shooting: that committed by police....
The task of creative work is to weave something new and wonderful out of the tattered threads of culture and convention. On the enchanted loom of the mind, our memory and experience, our personal histories and cultural histories, interlace into a particular pattern which only that particular mind can produce such is the combinatorial nature of creativity.
In describing the machinery of his own mind, Albert Einstein called this interweaving combinatory play. It cannot be willed. It cannot be rushed. It can only be welcomed the work of creativity is the work of bearing witness to the weaving.
The inner workings of that unwillable loom, which we often call inspiration, is what Rainer Maria Rilke (December 4, 1875December 29, 1926) explores in a beautiful passage from his only novel the semi-autobiographical The Notebooks of Malte Laurids Brigge (public library), which also gave us Rilke on the essence of art.Rainer Maria Rilke
Decades before pioneering psycholinguist Vera John-Steiner noted that ...
Okay. Its definitely been more than a minute since I abandoned this ship, but you get it. Ive been wanting to start blogging again for a while. Ive been hoarding photos, topics, and personal stories for months. I just wasnt sure how to start it up again. I didnt know how to reintroduce myself and my perspective. And honestly, I wanted to make sure that if I was going to start blogging again, I wouldnt give it up after a couple weeks.
The last year or so has been pretty packed with really great moments and some incredibly rough patches. 2017 was a make shit happen no matter what year for me. And that left me extremely exhausted, a bit broken, and definitely shaken by the New Year. A quarter of 2018 has gone by and I think Im finally tired of allowing opportunities and responsibilities to fall through my fingers. Ready or not, its time for me to get my shit together, prioritize, and hopefully create some balance in my life.
Part of this process is rebooting this blog. Im still not certain of how Im going to keep a good flow going here, so Im just going to start with this. Im going to list some of the craziness that Ive been storing in my brain to share with you all. When I get the posts up Ill link them through the list.
On the 16th of April 1900, Pearl (Polly) Adler was born in Ivanava (Yanow), Belarus, as the oldest of 9 siblings in a traditional Jewish family. When she was 12, her father, a successful travelling tailor, decided to send her ahead as the first link in the Russian chain emigration to the United States to stay with friends in Holyoke, Massachusetts. For 2 years she lived with the Grodeskys, doing housework for them and attending public school. Shortly after her fourteenth birthday she began work in the local paper mills. The next year she moved to Brooklyn, N.Y., and lived with her cousins Lena and Yossell Rosen, working successively in a corset factory, as a seamstress at home, and as a machine operator in a shirt factory. An attractive teenager eager to escape the grinding poverty of immigrant life, Adler refused the penniless suitor her relatives had chosen for her and instead sought glamour in the local dance halls. At the age of seventeen she was raped by her supervisor from the shirt factory. After a family quarrel and an abortion she moved to Manhattan, where she found part-time work, once more in a corset factory. Through a family friend Adler became acquainted with a young actress living on Manhattans fashionable Upper West Side who introduced her to a world of sh...
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