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via YouTube)" class="wp-image-437619 size-medium" height="405" src="https://hyperallergic.com/wp-content/uploads/2018/04/nicholas-nixon-portrait-still-720x405.jpg" width="720">Nicholas Nixon, still from Museum of Modern Art video on the artist (screenshot via YouTube)
Bostons Institute of Contemporary Art is prematurely closing an exhibition of photographs by Nicholas Nixon at the artists instruction, following allegations of sexual harassment raised by his former students at the Massachusetts College of Art and Design (MassArt). Originally scheduled to end on April 22, the show, Persistence of Vision, will be taken down when the museum closes today, a museum spokesperson told Hyperallergic.
The news, which was first reported by the blog Wonderland, is an unexpected twist in the debate over how the accusations might affect Nixons work. Last week, the Boston Globe published allegations by over a dozen of the photographers former students who described unwanted advances from him, over years, that ranged from vulgar remarks in the classroom to requests that they pose nude for him. In response to the report, the ICA Boston decided to keep the exhibition on view but address the controversy through new gallery signage as well as an online open forum.
But yesterday, the museum released a new statement based on Nixons personal decision. Shared on its exhibition page, which is updated to reflect the new closure, the full stat...
Protesters in front of the Brooklyn Museum (image via @kino___eye)
The calls for a Decolonization Commission at the Brooklyn Museum are growing, as more anti-gentrification activist groups are demanding a response to a letter organized by Decolonize This Place and released last week. That letter which was spurred in part by the museums appointment of a white woman, Kristen Windmuller-Luna, as a curator of African art was signed by 12 groups, while the new statement includes 19 organizations as signatories.
The latest statement (included in full below) comes after the Brooklyn Museum ignored the calls by local groups to establish a Decolonization Commission, while characterizing statements by them and others as personal attacks, which do not appear in last weeks letter. The museum claims the statement issued by its director, Anne Pasternak, was not a response to the letter (though it has been perceived that way by many). In her response, Pasternak focused mostly on Windmuller-Lunas art historical qualifications, which were not questioned by any of the groups.
The new letter calls the museum out of touch with the communities at its own doorstep. The signatories also suggest that structural problems at the museum are a cause for concern because the institutions decision to avoid any mention of the decolonial programs or the concerns about gentrification outlined in the letter suggest that the problem may lie higher in the chain of authority.
The full text of the letter was provided to Hyperallergic this morning and appears below. Hyperallergic has contacted the Brooklyn Museum for comment and will update this story when we receive a response.
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Brooklyn Museum, We Await Your Response to the Call for a Decolonization Commission
Last week, we...
In front of a sold out crowd of 65,000 fans in Mexico City, The Killers brought one lucky fan (two actually), Jos Luis, to play the drums for their hit song Reasons Unknown. After a failed first attempt, the band quickly scanned the crowd and found Luis with a sign and promise that he actually knew...
Its said that everyone has a doppelgnger, and Stefany Lauren is the spitting image of Maisie Williams, who is best known for her role as Arya Stark in Game of Thrones. Stefany recently wowed Redditors with her Arya Stark cosplay; she shared a photo of herself in full outfit atop a horselike the character herself. Anyone familiar with the show will do a double take, as the similarities are uncanny.
It turns out that Stefany and Arya have more in common than just their looks. I had been an equestrian since I was 3, she tells My Modern Met, properly showing horses from the ages of 6 to 15 before a mystery illness robbed me of my sight at times. Thankfully, Stefany was able to get her affliction under control. [I] am able to sword fight and ride heavily again but my time in the show ring has passed, so it seems. She still, however, has three horses at home.
While getting sick caused her to lose some of what she loved, it was partially a blessing in disguise. I would have never found acting and thus never found cosplay. For me, cosplay is like acting without the audition, she explains. I can become anyone for a few hours, live in their skin and just be. Its freeing and incredibly enjoyable to entertain in such a way, without limits or borders to my imagination.
Stefany began cosplaying as Arya about six months ago. I had denied through my teeth that there was any similarity between myself and Maisie for years but I agreed to try the costume and went to watch the show properly while I sewed. Hooked on Game of Thrones from the very beginning, she hand-dyed her cloak and completed her outfit (based on Aryas costume from season 7) right before New York Comic Con. Was it pretty? No, but it planted a seed in m...
Caitlin Foley and Misha Rabinovich, Worries Bash (2017, all photos courtesy of the artists)
SOMERVILLE, Mass. Caitlin Foley and Misha Rabinovich live in an apartment dotted with the detritus of past art installations. A diagram of a model sauna hangs on the wall. Fluff from pillows for an exhibition, Pink Noise, lightly dusts the furniture. Then theres the large brown piata-like blob that sits in the back room. It was part of Worries Bash, a participatory art installation that Foley and Rabinovich set up in the summer of 2017 in Berlin.
Worries Bash responded to the heightened public anxiety in the wake of the 2016 US presidential election. Foley and Rabinovich recorded peoples day-to-day worries. An example: Having no income, having no car, being alone. That something might happen to one of my sons. Then the artists created an interactive sculpture, which when whacked gently like a piata, would trigger a worry, one of many that played in a continuous audio loop as part of the installation.Misha Rabinovich and Caitlin Foley at their apartment in Somerville
The effect was surreal and a potent group rejuvenation ritual, Rabinovich said. Powerful art is when artists are able to problematize things in a way that gets you to reflect on them differently, Foley told me....
Massachusetts College of Art and Designs Graduate Program is proud to present the 2018 MFA Thesis Exhibition which showcases the work of students in the final year of their respective Masters of Fine Arts program.
Featured artists include BJ Beck, Kelly Burgess, Elizabeth Carre, Chiao Ti Chuang, Molly Dressel, Farimah Eshraghi, Navidreza Haghighimood, Qinrui Hua, Barbara Ishikura, Mariah Johnson, Mahima Kapoor, Kelly Knight, Madyha Leghari, Devvrat Mishra, Rebecca Morrison, Soha Saghazadeh, Kejing Wang and Emily Yang.
The exhibition is on view from April 19, 2018 May 12, 2018 at MassArts Bakalar & Paine Galleries, New Englands largest free contemporary art space. The gallery is free and open to the public from 12pm-6pm, Monday Saturday.
An opening reception will be held on April 19, 2018 from
For more information on MassArts Graduate Programs, visit MassArt.edu/Grad.
MassArts MFA Thesis Show 2018 opens on April 19 and continues at the Bakalar & Paine Galleries (621 Huntington Avenue, Boston, Massachusetts) through May 12, 2018.
The post Massachusetts College of Art and Designs 2018 MFA Thesis Exhibition appeared first on Hyperallergic.
In 1913, Germany, flush with a new nations patriotic zeal, looked like it might become the dominant nation of Europe and a real rival to that global superpower Great Britain. Then it hit the buzzsaw of World War I. After the German government collapsed in 1918 from the economic and emotional toll of a half-decade of senseless carnage, the Allies forced it to accept draconian terms for surrender. The entire German culture was sent reeling, searching for answers to what happened and why.
German Expressionism came about to articulate these lacerating questions roiling in the nations collective unconscious. The first such film was The Cabinet of Dr. Caligari (1920), about a malevolent traveling magician who has his servant do his murderous bidding in the dark of the night. The storyline is all about the Freudian terror of hidden subconscious drives, but what really makes the movie memorable is its completely unhinged look. Marked by stylized acting, deep shadows painted onto the walls, and sets filled with twisted architectural impossibilities -- there might not be a single right angle in the film Caligaris look perfectly meshes with the narrator's demented state of mind.
Subsequent German Expressionist movies retreated from the extreme aesthetics of Caligari but were still filled with a mood of violence, frustration and unease. F. W. Murnaus brilliantly depressing The Last Laugh (1924) is about a proud doorman at a high-end hotel who is unceremoniously stripped of his position and demoted to a lowly bathroom attendant. When he hands over his uniform, his posture collapses as if the jacket were his exoskeleton. You dont need to be a semiologist to figure out that the doormans loss of status parallels Germanys. Fritz Langs M (1931), a landmark of early sound film, is the first serial killer movie ever made. But what...
Brazilian-born visual artist Oscar Oiwa is globally recognized for creating fully immersive installation art made from 360-degree drawings. For his latest piece, titled Oscar Oiwa in Paradise Drawing the Ephemeral, the artist used 120 black marker pens to adorn an entire inflatable dome with illustrations of imaginative pathways, mythical forests, and swirling skies.
Created exclusively for JAPAN HOUSE So Paulo, the installation took two weeks to complete with the help of five assistants. Visitors are invited to enter the vinyl balloon, where they can experience Oiwas otherworldly, imaginary landscape. The colossal, monochrome drawing covers every surface of the 10 x 7 x 4 meter vinyl surface, and is influenced by the artists love of comic book art, and the Brazilian urban environment. Oiwa fondly reveals, I've always enjoyed drawing, which I consider the most basic way of expressing myself visually. A pencil and a blank sheet, there is no simpler media than that.
On November 1st, 2017, Muslim YouTube phenomenon Dina Tokio premiered her documentary project #YourAverageMuslim, a four-part Creators for Change series produced by YouTube. This documentary is a prime example of the meaningful feminist digital activism being undertaken by contemporary Muslim women. Such activism seeks to reframe the discourse around Muslim women by showing that successful, independent and bold Muslim women are not the exception, but the norm.
For centuries, Muslim women have been subject to the Orientalist gaze, which paints Muslim female bodies as exotic, veiled, and oppressed victims in various visual and written depictions. These depictions have largely shaped the experiences of average Muslim women, who must deal with constantly being stereotyped by the public as victims of their culture and religion. These Muslim women have now taken to the online world to fight against these stereotypes. By using online platforms to make documentaries such as #YourAverageMuslim and music videos like Somewhere in America #Mipsterz (both of which received millions of views online) these women have been quite successful in extending their perspectives to wider audiences.
#YourAverageMuslim highlights the lives of three Muslim women in Europe Dalya Mlouk, Emine, and Sofia Buncy. Dalya Mlouk is the worlds first female hijabi power-lifter, who has broken the world record for deadlifting in her age and weight category. German hip-hop dancer Emine dominates Berlins underground hip-hop dance world, and is the first hijabi dance teacher in Europe who also owns her own dance school. Sofia Buncy stands out from the other women, in that she doesnt wear the hijab, but works primarily in an overlooked area of social work, catering to the needs of Muslim women in prisons....
Last night I had dinner at a local restaurant that happened to have a playlist on of great songs from my high school years. As one after another came on I thought, wow, I forgot how good these songs are. But after a while I realized I couldnt really separate the songs themselves from my memories of listening to them back in the old days. Nostalgia, as we know, plays a significant role in how we respond to recorded music. But as to the question of what makes a song great to begin with, what separates it from thousands of other songs released around the same time this is much more difficult for many people to answer.
We might pull out one or two musical elementsthis beat is amazing or those heavy guitars are awesome or her voice is just so powerfulbefore falling back on subjective criteria about how the song makes us feel and what we think of when we hear it. Most people cant identify with precision how and why certain songs sound like they do because developing such an ear takes years of training. Its a skill learned by studying theory, recording, and musical technique, and by listening critically to lots and lots of music. Ask a musician, producer, or engineer what makes a song great and you might get a seminar on its mixing, arrangement, chord progressions, and use of studio effects.
Thats what we get in the YouTube series What Makes This Song Great?, created by musician and producer Rick Beato. Here, as Metafilter writes, he breaks down the musical structure and production techniques in popular songs. Working from the stems [pre-mixed groupings of drums, guitars, vocals, keys, etc] of each song, he discusses everything from Sting's Lydian mode bassline, to the use of Neumann mics to capture the intensity of Chris Cornell's vocals; from sidechain...
Emil Bisttram, Suspension oil on canvas, (1940, all
photos taken by William J. OConnor, courtesy
American Museum of Western Art The Anschutz Collection, unless otherwise noted)
Many visitors come to The American Museum of Western Art (AMWA) in Denver to see its remarkable paintings by Georgia OKeefe, Ernest L. Blumenschein, Fritz Scholder, and Thomas Hart Benton. But one of the most impressive parts of the collection is not on view in the museums galleries. Deep in the archive are lesser-known gems, including a large body of work by a neglected artist, Emil Bisttram.
In 1975, when the collection was private and shortly before his death, Bisttram sold 235 artworks, ranging from drawings to large oil paintings, and over 200 archival documents. His journal-like notations yield new insight into the painter, who is often unfairly perceived as a mere disciple of Wassily Kandinsky and a second-generation Taos artist. An examination of over 40 years of Bisttrams art and writings suggests that he was a bridge between the early Taos art colony and American modernism.
Taos first drew a community of artists in the early years of the 20th century, and Bisttram became an important teacher and organizer in the towns cultural infrastructure. In 1930, Bisttram spent a summer there, a common practice for East coast artists seeking the pueblos unique landscape and isolation. In 1931 Bisttram was awarded a Guggenheim Fellowship to study with Diego Rivera in Mexico, after which he returned and settled in Taos. He established the Taos School of Art and its first commercial art gallery, Heptagon. Bisttrams abstractions were not radical, but they were outside the mainstream and challenging for American audiences....
A post shared by (@marupgoma_c) on Aug 19, 2017 at 2:57am PDT
A little cute dog named Goma has recently found internet fame because of her one big featureher ears! The 4-year-old Maltese and Papillon mix has fluffy gray ears that are nearly as tall as her head. Their scale, in addition to their rounded shape, has affectionately earned her the nickname of Mickey Mouse dog.
Goma is seemingly unaware of her unusually large ears. Shes like any other happy young pup. She enjoys taking walks, playing with toys, and snuggling in her cozy bed. Goma is patient, regularly donning bow-ties and bandanas, but she's also curious. When her human breaks out the camera; her adorable mouse-like ears perk right up!
Follow all of Gomas adorable activities through her quickly-growing Instagram page.
Eduardo Ugarte, Luis Buuel, Jose Lopez Rubio, Leonor and Tono at Charlie Chaplins house, 1930
Whenever someone voices alarm about the war on Christmas, I think of my hero, Luis Buuel, and smile. In 1930, Buuel disrupted a Christmas party in Los Angeles by leading an attack on the tree and,...
John Harvey Kellogg invented Corn Flakes as a means to stop masturbation. Kellogg believed a bowl of crispy morning goodness would stop youngsters from the evils of self-pollution, disease, and possible madness. Kellogg was a doctor, nutritionist, inventor, health freak,...
Velvet painting depicting The Legend of Popcoatpetl y Iztacchuatl (1970s), artist unknown (all photos by the author for Hyperallergic)
I had the idea that I wanted to do a velvet painting show when I was in a PhD program at Michigan State University, in Chicano Studies, about 10 years ago, said Herrada, along with Diana Rivera, who is now the Chicanx Latinx Subject Specialist and head of the Cesar E. Chavez Collection at the Michigan State University Library. And back then, we were discussing the term rasquache, and all the Chicanos in the group recognized velvet paintings were it.Renewed interest in velvet painting surged due to paintings created by Edgar Leeteg in the 1930s through the 1950s, of Polynesian and Tahitian subjects. These popular images were licensed to be recreated on black velvet for the mass market. Edgar Leeteg, Tahitian Chief (authorized replica), oil on velvet, undated.
Rasquache is a Nahuatl word (within the Uto-Aztecan language family), and Herrada characterizes it to mean: ordinary or low. Kind of day-to-day. Some people say low art, but I would say the beauty of our everyday lives. In his 1989 essay, ...
Lets continue the ECM Records takeover of Bird is the Worm with some videos. Even casual readers of this site will know that Im a sucker for certain qualities in a music video. One of those are when a city skyline appears in the background. And, so, heres a video of the Marcin Wasilewski 
We've all seen that famous New Yorker cover satirizing a New Yorker's distorted, self-centered view of the world: Manhattan occupies a good half of the image, relegating the rest of America (and indeed the world) to the status of outer-outer boroughs. What Saul Steinberg did with a drawing in 1976, pioneering Roman geographer Pomponius Mela had done, in a much less comedic but much more accurate way, with text nineteen centuries before. Writing from his perspective under the reign of the Emperor Gaius, Claudius, or both, Mela created nothing less than a worldview, which tells us now how the ancient Romans conceived of the world around them, its characteristics and its relationship to the territory of the mightiest empire going.
"Pomponius Mela is a puzzle, and so is his one known work, The Chorography," writes Frank E. Romer in Pomponius Mela's Description of the World. In that series of three books, which seems not to have contained any maps itself, Mela divides the Earth into two rough "hemispheres" and five zones, two of them cold, one of them hot, and two in between.
Pulling together what in his day constituted a wealth of geographical knowledge from a variety of previous sources, he painted a word-picture of the world more accurate, on the whole, than any written down before. Scholars since have also praised Mela's clear, accessible prose style clear and accessible, in any case, for a first-century text composed in Latin.
Various maps, including the 1898 reproduction pictured at the top of the post (see it in a larger format here), have attempted to visualize Mela's worldview and make it legible at a glance. You can see more versions at Cartographic-images.net, and the David Rumsey Map Collection shows the world according to Mela...
The British photographer Alfred Buckham (18791956) came of age during the early history of flight and served, starting in 1917, as a reconnaissance photographer for the Royal Naval Air Service. Apparently a better photographer than pilot, Buckham "crashed nine times before he was discharged from the Royal Naval Air Service as a hundred per cent disabled," writes the National Galleries Scotland website. (At the age of 39, he damaged his voice box and had to breathe out of a tracheotomy tube for the rest of his life.) But, nonetheless, his passion for aerial photography continued unabated.
In 1920, Buckham captured this rather splendid aerial photo of Edinburgh, the capital of Scotland. It's his chef d'oeuvre. About the photograph, the National Galleries writes:
Buckhams aerial view of Edinburgh has become one of the most popular photographs in our collection. The view is taken from the west, with the castle in the foreground and the buildings of the Old Town along the Royal Mile gradually fading into a bank of mist with the rocky silhouette of Arthurs Seat just visible in the distance. Buckham was always keen to capture strong contrasts of light and dark, often combining the skies and landscapes from separate photographs to achieve a theatrical effect. As he does here, he sometimes collaged or hand-painted the form of a tiny aircraft to enhance the vertiginous effect. Yet accuracy remained a concern; Buckham later professed a particular fondness for his view of Edinburgh, because it presents, so nearly, the effect that I saw.
If you follow these links, you can see a wider selection of Buckham's photographs, including Sunshine, and Showers; The Storm Centre; Sunset over the Pentlands Range; The Forth Bridge; Volcano: Crater of Popocatepetl; and more.
In his stirring meditation on what makes life worth living, Walt Whitman asked: After you have exhausted what there is in business, politics, conviviality, love, and so on have found that none of these finally satisfy, or permanently wear what remains? He answered simply: Nature remains.
But between Whitmans day and our own, as we have poured our business and politics onto nature, nature has ceased to be the inexhaustible constant Whitman took it to be. This is what marine biologist and writer Rachel Carson intuited when, a decade before she catalyzed the modern environmental movement, she quit her government job in a grey Washington office not far from where Whitman had once lived and cautioned in a prescient letter as she watched a heedless administration assault nature for commercial gain: The real wealth of the Nation lies in the resources of the earth soil, water, forests, minerals, and wildlife Their administration is not properly, and cannot be, a matter of politics.
The sanctity of that wealth and the urgency of its stewardship is what Terry Tempest Williams, a Carson of our time, explores from the singular intersection of the personal, the political, and the ecological in The Hour of Land: A Personal Topography of Americas National Parks (...
Barnaby Furnas, The Wrangler (2018), dispersed pigments, acrylic, colored pencil, pencil on linen, 64 1/2 x 73 in (courtesy of the artist and Marianne Boesky Gallery, New York and Aspen; Barnaby Furnas; photo by Object Studies)
Artificial intelligence has arrived in a Chelsea gallery, its traces cleverly disguised as stylized, gestural, figurative painting. The scenes of the American West in Barnaby Furnass latest show at Marianne Boesky Gallery, Frontier Ballads buffaloes, cowboys, open prairies, and the carnage along the way resemble takes on the visual tropes of traditional Americana. But they were created with the help of very untraditional studio assistants: robots.
Perhaps it was only a matter of time. Robots have been making our lives easier and more efficient for years. Weve gotten used to telling the iPhones Siri to give us directions, look up restaurants, and remind us of appointments. A machine named Alexa sits in many homes, turning appliances on and off, playing music, and occasionally laughing maniacally for no reason. Why shouldnt artists be able to take advantage of this technology and apply it to painting?...
On the 12th of April 1990, Jim Gary (1939 2006) opened his exhibition Twentieth Century Dinosaurs at the Smithsonian Institutions National Museum of Natural History in Washington, D.C. Gary was the only sculptor ever invited to present a solo exhibition at the prestigious museum; he became known for his large, colourful creations of dinosaurs made from discarded automobile parts, hand-welded and finished with industrial paint which was left to naturally corrode in outdoor displays, due to the enormous scale of the works.
Entirely self-taught, Gary scoured the junkyards to produce surprising novel sculptural pi...
The Wende Museums new home in a former National Guard armory (all photos by the author for Hyperallergic)
LOS ANGELES Not long after the Cold War concluded, Francis Fukuyama declared the end of history, and that Western liberal democracy would inevitably consume all of humanity. The quarter century since has demonstrated this idea laughably wrong, with neoliberalism currently flailing about worse than ever. The West was perhaps too hasty to declare victory over the Soviet Union with popular culture having never understood its enemy outside of terms set by decades of propaganda. Even today, our understanding of Russia is poor. Witness things like Time mistaking St. Basils Cathedral for the Kremlin, or how a documentary about doping among Russian athletes confusingly placed the communist hammer and sickle on its poster.
Amid continued misconceptions about the Cold War and Russia, the mission of the Wende Museum is vital. Die Wende (The Turn or The Turnaround) is the native term for Germanys transition from communist to capitalist rule between 1989 and 1990. The rush to leave the past behind led to the destruction or neglect of many documents, artworks, and other objects that should have been preserved, not just in Germany but in many Soviet countries. Since its founding in 2002 by historian Justinian Jampol, the Wende has accumulated over 100,000 artifacts of culture, politics, work, and other signifiers of daily life in the USSR.The main exhibition...
Tracey Emin (photo by Piers Allardyce, via Wikimedia Commons)
In a recent interview, British artist Tracey Emin said that she had been sexually assaulted by a well-known woman artist, though she did not name her alleged attacker.
The irony is it happened to be a woman that grabbed hold of my crotch, slammed me against a wall and I threatened to punch her lights out, Emin told collector Kenny Goss in an interview, as the Sun first reported on Sunday. In a subsequent interview with Radio 4, she added: Quite often everybodys making accusations and saying things about men, but it happens with everybody in many, many different circumstances, and people dont seem to be seeing the whole picture in that harassment is actually bullying in a lot of cases as well.
Emin was speaking to Goss on the occasion of the upcoming MTV Re:Define, charity auction in Dallas, where she is this years honoree. The annual auction raises money to fight the spread of HIV, which was co-founded by the Goss-Michael Foundation and the MTV Staying Alive Foundation.
Whats the difference if its a womans doing it or a man doing it?, she told Goss. If its someone in a higher position of power or someone who thinks theyre going to get away with it because of who they are, thats what the problem is.
The revelation came in response to a question about the...
Bronze reproduction of Kristen Visbals Fearless Girl (all images courtesy the artist)
Anyone moved or inspired by Fearless Girl the bronze statue that was installed opposite Wall Streets iconic Charing Bull last year can now purchase a reproduction of it, but its not cheap. Its artist, Kristen Visbal, is selling two-foot-tall copies of the ponytailed girl, who stands with arms on her hips, for $6,500 each. Sold in a limited run of 1,000, the miniature versions are true to the form of the original, each based on a 3D scan of it and shaped through lost-wax casting.
My hope is that your limited edition bronze will serve as a symbol of empowerment and encouragement and as a reminder that collaboration between genders and culture is the enlightened path forward for smarter, stronger decisions, Visbal writes on her Fearless Girl website. She adds that 20% of proceeds will be allocated as donations to nonprofits that empower young women and support gender equality.Bronze reproduction of Kristen Visbals Fearless Girl
Originally created to represent female leadership and power, the original statue was criticized by some as an empty symbol of corporate feminism. Visbal was asked by the financial firm State Street Global Advisors (SSGA) to design the statue (it was originally envisioned as a bronze cow), which was unveiled on International Womens Day. The company is, notably, overwhelmingly male-dominated; last year, it also agreed to...
In Vordingborg, Denmark, a silo demolition does not goes as planned. Not only did it fall in the opposite direction, it partly destroyed a public library.
Chinese contemporary artist Li Xiaofang uses porcelain to make wearable art that pays homage to China's past while looking toward the future. Xiaofang takes hundreds of shards of porcelain, some dating back to the Song, Ming, and Qing dynasties, and puzzles them together into magnificent porcelain dresses. His wearable art acts as both a coat of armor and a sculptural masterpiece.
Xiaofang sews together the shards using thin metal wire, and each is lined with a leather undergarment. Looking at the artist's work, it's impossible not to marvel at the precision and care taken, not only to find the exact shapes to form the curves of the dresses, but also how the pattern and color of the porcelain are used to create new shades and silhouettes. But Xiaofang doesn't only limit himself to porcelain dresses, he's also experimented with creating suit jackets, pants, blouses, and even a military hat.
The Beijing-based artist has seen his work exhibited at the Metropolitan Museum of Art and has engaged in collaborations with fashion giants like Lacoste and Alexander McQueen. A visionary in his field, his work was by the rapid development engulfing Beijing. These blue shards, bathed in the sunny skies of socialism and caressed by the contemporary cool breezes blowing from the west throughout the capital, assume a bewildering array of postures as fashion items entering the new century, the artist once stated. These are the blue-and-white costumes! These emanate the splendor once crushed! These are the illusions flowing with sorrow!
Instagram filters were built on a love of the vintage aesthetic, where your pictures look as though they belong in your parents old photo album; one even used to include a Polaroid-like mask. And now, for a limited time, you can snap these types of photos in an actual Polaroid instant camera that's a blast from the 90s past. The company is re-releasing a special edition of its traditional 600 Polaroid camera.
Called the 96 Cam, it takes the shell of the iconic vintage device and covers it with a delightful 90s nostalgia design. The colorways feature two palettes. One is Fresh Blue, an homage to neon with pink, yellow and aqua hues. The other is called Jazz Red and includes a vibrating combination of the primary colors. Both are adorned with motifs thatll take you back to the days of dial-up internet and Dunkaroos.
The 96 Cam is only available in strictly limited quantities, and it appears as though both Fresh Blue and Jazz Red are sold out on the Polaroid website. For now, there are still some available through Urban Outfitters.
Travel photographers take notice, the 2018 National Geographic Travel Photographer of the Year contest is now accepting entries. Photographers from around the world are encouraged to submit images that tell the story of a place and travel moments that inspire others to explore our world. The winning photographer will receive a grand prize of $10,000 and the title of National Geographic Travel Photographer of the Year.
Last year, Sergio Tapiro Velasco took home the grand prize for his incredible photo of the Colima Volcano eruption in Mexico, and so far, there are some really promising early entries in this year's competition. Across three categoriesCities, People, and Naturetravel photographers are using their creativity to capture the spirit and energy of international locations. Among the entrants are familiar faces like Mattia Passarini, who we've had the pleasure of talking to about his work documenting indigenous tribes around the globe.
Photographers have until May 31, 2018 to enter the contest, with no limit on the number of photos they can submit. In addition to the grand prize, two additional category winner...
Doreen Garner tattooing at Recesss Invisible Man Tattoo (all images courtesy Pioneer Works)
Last time artist Doreen Garner was at Pioneer Works, she performed an astonishing surgery on a silicon replica of Dr. J Marion Sims, who carried out cruel gynecological experiments on enslaved women in the 19th century. This week, Garner returns to the Red Hook space for a different kind of operation: tattooing.Reanimation Library presents Make it Last Forever flash sheet created by Doreen Garner
Garner, who has been giving tattoos for two years now, mined Pioneer Workss Reanimation Library a collection of near-obsolete publications and found some really random imagery as inspiration for her designs. The library keeps a wide array of books; recently acquired titles include ...
A newfound geoglyph (image Luis Jaime Castillo)
The Nazca Desert in Peru is famous for the ancient geoglyphs known as the Nazca lines, which form enigmatic geometric shapes and zoomorphic designs. Now, in a major breakthrough, archaeologists have found many more examples of large-scale linear designs in the adjacent province of Palpa, as National Geographic first reported. Using drones, researchers have identified over 50 massive, long-unseen geogylphs that date from between 500 BCE to 200 CE centuries before the time of the known Nazca lines.
Unlike the Nazca lines, these depict mostly humans warriors, specifically, according to Peruvian archaeologist Luis Jaime Castillo Butters, who co-led the survey. While some were made by the Nazca culture, which dates from between 200 and 700 CE, the archaeologists believe that many were drawn by the earlier Paracas and Topar cultures.
This means that it is a tradition of over a thousand years that precedes the famous geoglyphs of the Nazca culture, which opens the door to new hypotheses about its function and meaning, Johny Isla, the Nazca liness chief restorer and protector, told National Geographic.
The aerial study of the area was triggered by an unfortunate incident. In 2014, Greenpeace activists damaged one of the Nazca lines while unfurling a giant message over the ancient markings. The lines are designated a UNESCO World Heritage Site, and to aid in their restoration, the United States gave Peru a grant to hire a local team. (In another incident, in February, a truck driver left deep scars when he drove through the area.)
Led by Castillo Butters and Isla, the team relied on data provided by satellite imagery database...
Arshile Gorky, Still Life (c.1930s), oil on canvas, 8 x 10 (all photos by the author for Hyperallergic)
For the past 100 years or so the basic geometric grid has proved an irresistible form for many visual artists. Perhaps theres something about the possibility of ordering the world and the restless nature of the artists mind that has fueled the allure and ambivalence of this relationship. Sometimes the simplest of concepts prove to be the ones most ripe for interpretation.Installation view of Unlocking the Grid
The current show at Lori Booksteins new gallery on the Upper East Side takes the notion of the grid as artistic palette in a delightfully different direction. The show entitled Unlocking the Grid focuses on artists who for the most part have chosen to take the grid apart, that is to work against its ordering qualities and screw around with the possibilities that this liberation affords. It is an impressive showing of some great 20th century painters including Arshile Gorky, Joaqun Torres-Garca, Adolph Gottlieb, and James Siena. The range and degree to which each of these artists has played against the grid underscores the fascinating possibilities of such a seemingly simple gesture....
Digital collage artist Arne Olav Gurvin Fredriksen uses Photoshop to create strangeand often hilarioushybrid creatures by mixing different animal parts together. A project that started purely as a hobby, Fredriksen began making his photo manipulations in 2012. Each cross-breed is posted on Instagram on a regular basis, where the artists 14,000+ fans can vote to name them.
From a sealion/horse creature named a Horseal to a Labrador puppy/albatross combo called a Labratross, Fredriksen renders his weird and wonderful critters by first finding two images that go well together. The angle has to be right, and it helps a lot if the skin/fur textures are approximately similar. This is the hardest part, Fredriksen explains on Reddit. After placing the head on the other animals body, the artist then uses various Photoshop tools to move, erase, and blend parts of the background so that the make-believe beast looks like its in its real-life habitat. Fredriksen also makes sure to credit the original photographers when possible.
No matter the combination, whether its a big, friendly Pugilla (a gorilla body with a pug head) or a majestic Dorse (a white horse with a ducks head), each entry in the series showcases Fredriksens fantastic imagination and sense of humor!
You can find more of Fredriksens animal blends on Instagram.
Mike Mignola, The Goon issue #7, pages 1, 2, 3, and 26 (2004), pen and ink (all images courtesy the Society of Illustrators)
The most successful comic artists arent credited with creating books theyre credited with creating universes. The work of Mike Mignola, the creator of Hellboy, is sometimes described as the Mignolaverse. His signature style includes careful composition, large swaths of dark ink, and shadowy humanoid monsters. On Friday, Mignola will speak with comics scholar Karen Green at the Society of Illustrators, to coincide with a current exhibition of Mignolas work at the Museum of Illustration.
Mignola started his comics career as a teenager in 1980s California, where he attended art school and illustrated for The Comics Reader. According to the Society of Illustrators website, Mignola moved to New York in 1982, hoping to find a way to draw monsters for a living. Over the years, hes worked for both Marvel and DC, and created his best-known series, Hellboy, for Dark Horse comics. The premise and art are both delightfully strange: Hellboy is an idiosyncratic demon originally summoned by the Nazis. (He was also the star of a 2004 movie, directed by Guillermo del Toro.)
Mignolas talk this week will examine some of his favorite works from his almost four decades in comics. Karen Green, Curator for Comics and Cartoons at Columbia University, will help guide the discussion. Tickets cost between $15 and $30, and a cocktail reception will follow....
Here's some very rare footage of the great Mexican painters Diego Rivera and Frida Kahlo paying a visit to exiled Soviet revolutionary Leon Trotsky and his wife, Natalia Sedova, in Coyocon, Mexico, in 1938.
The Trotskys had arrived the year before, after Rivera petitioned the government of President Lzaro Crdenas to grant the controversial Marxist leader and theorist sanctuary in Mexico. When the Trotskys arrived on a Norwegian oil tanker at the port city of Tampico in January of 1937, Rivera was not well, but Kahlo boarded the ship to welcome the Trotskys and accompanied them on an armored train to Mexico City. She invited the Trotskys to stay at her family home, La Casa Azul (the Blue House) in Coyocon, now a section of Mexico City. By the time this footage was taken by a visiting American named Ivan Heisler, Trotsky and Kahlo had either had, or were about to have, a brief affair, and the friendship between the two couples would soon fall apart. In early 1939 Trotsky moved to another house in the same neighborhood, where he was assassinated in August of 1940.
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Stephanie Kilgast takes discarded objects like tin cans, jam jars, and old cameras and embellishes them with vibrant amalgamations of coral-like growths. The artist honed her detail-oriented skills by making hyperrealistic miniature food, and she continues to use polymer clay and hand tools to craft her artworks. Mushrooms, crystals, beetles, and abstract forms sprout from the everyday objects that Kilgast sources from thrift stores and trash cans.
In an artist statement on her website, she describes her work as an ode to life, where plants and fungi meet insects, animals and minerals. These encounters are growing in a colorful swirl of diversity, and the erratic growth develops on found objects, in a dialogue between humanity and nature.
Kilgast, who is based in France, often documents her creative process in videos on Instagram, YouTube, and Facebook. In addition to sharing her work with her large online audience, the artist exhibits widely, and was most recently a part of the themed group show Monochrome at Art Number 23 in London.
Arena is a short film by Praic McGloughlin, which he describes as: A brief look at the earth from above, based on the shapes we make, the game of life, our playing ground Arena.
The film was created using Google Earth imagery. The audio was a collaboration between Praic and Pearse McGloughlin resulting in something between music and a soundtrack.
Currently living in Sligo, Ireland, he graduated in 2016 with a BA in Painting from the University of Fine Art in Poznan, Poland. You can read a short interview with Amber Williams at Directors Notes about the making of the film and McGloughlins work in general.
To keep up with the latest from McGloughlin, check out his Instagram
Moscow-based photographer Kristina Makeeva traveled to Lake Baikal in southern Siberia where she captured the beauty of the largest freshwater lake in the word. At around 600 kilometers long (373 miles), the vast, mirror-like surface features layers of transparent ice that has cracked and bubbled, leaving incredible, organic patterns and frozen formations.
With icy depths of 5,387 feet (1,642 meters) in certain areas, the freshwater lakes frozen surface can withhold the weight of people and even cars. Known for its crystal-clear water, visitors can see into the green-blue abyss, where fish, plant life, stones, and various objects shimmer under the thick layer of ice. Shooting in an area with below-freezing temperatures, Makeeva came to the quick realization that many cameras could not cope in such frosty conditions, often only lasting around two hours before the batteries would give in.
Many of Makeevas images depict the thousands of large bubbles trapped beneath the surface which result from algae-produced methane gas. These glassy, pearl-like spheres are perhaps the reason for the lakes nickname, the pearl of Siberia. The large cracks can span as much as 30 kilometers (8 miles) with widths of around 2 feet (2-3 meters). According to Makeeva, when they crack, the sound is reminiscent of thunder or a gunshot.
You can find more of Makeevas incredible images on Instagram.
Luca Ledda returned to left his sign in Mexico by participating in the collective exhibition organized by Gama Crea gallery entitled Transito in which he exhibited art work created specifically for the show.
From Mexico City he then moved to the beautiful Bacalar, a town located in the state of Quintana Roo where he made a mural for Festival Bakalarte: arte urbano e poesia. Bacalar is also called magical pueblo because of its amazing Lake of seven Colors: seven are in fact the shades of blue that the water takes based on its depth. It is a place that leaves breathless and in some ways still untouched however the presence of tourists increases year by year. This has created some alterations to the natural ecosystem of living beings, including an endangered species very important for the maintenance of the natural habitat of the lagoon itself: the snails called Caracol Chivita.
Luca was totally inspired by the nature around him and he chose to create an awareness work on the theme of maintaining the ecosystem but without distorting the unmistakable trait of his pictorial style, always characterized by a dreamlike vision of spaces and characters.
In Caracol Chivita we immerse ourselves in a visual poem rich of details and precious recurring symbols throughout its production.
I wanted to create a work that would attract the viewers gaze using strong colors like the red of the background and instead of focusing on a single subject I preferred to give the work a strong dynamism that was somehow in contrast with the slowness of the snails, particularly important beings in the lagoon.
Its amazing the attention and the precision towards details in his works. His ability to create visionary scenes where time and space merge together by transporting us into a non-place of never-ending poetry.
Thanks to the artist for the photos below and stay tuned for more updates from Mexico!!
Pie charts can have an elegant way of transforming data into a something that is easy to understand and visually appealing.
Sometimes, they go one step furtherliterally looking like the thing theyre trying to represent.
Okay that last sentence was clunky and confusing. Better to use pie charts to get my point across!
Ive been on a big Diana Ross and the Supremes kick lately, gorging myself with back-to-back plays of their albums like their music is Halloween candy. I listened to seven Supremes longplayers yesterday alone. Im just not in the mood for anything else. But as anyone who has ever owned classic...
For his latest immersive installation, Oscar Oiwa (previously) created a 360-degree black and white drawing that fills the space of an inflatable vinyl balloon. The work, Oscar Oiwa in Paradise Drawing the Ephemeral, took Oiwa and his five assistants two weeks and 120 marker pens to create. Visitors are invited to enter the encapsulating drawing to fully experience Oiwas imagined environment, which is composed of dark patches of forest, winding pathways, and a sky filled with high-contrast swirls.
Ive always enjoyed drawing, which I consider the most basic way of expressing myself visually, said Oiwa in a press release regarding the large-scale work. A pencil and a blank sheet there is no simpler medium than that.
The exhibition is presented at JAPAN HOUSE So Paulo, a venue that showcases traditional Japanese culture through a modern lens. Drawing the Ephemeral runs through June 3, 2018. You can watch the making of the massive drawing in the short video below.
El Rey (1963), Chevrolet Impala (photo by Ted7)
The American love affair with the automobile finds its most exuberant expression in the lowrider, the highly customized cruising vehicle that Chicano/a artists and craftspeople throughout the American Southwest have been building for decades. With its mix of pin-striping, upholstery, airbrush painting, and hydraulic wizardry, the lowrider can be thought of as an automotive gesamtkunstwerk, or total work of art. The exhibition The High Art of Riding Low: Ranflas, Corazn e Inspiracin currently on view at the Petersen Automotive Museum, celebrates their legacy and cultural influence, featuring work by 50 artists focused on the legendary car.
This Saturday, the lowrider tradition will come to life at the event How to Build a Lowrider, featuring demonstrations of various techniques from hydraulics and engraving, to painting and pin-striping, with several exhibition artists. Participants include Alberto Herrera, Yely Diaz, Chino & Lolo Vega, Hoppos Hydraulics, and others.
When: Saturday, April 14, 11am2pm
Where: Petersen Automotive Museum (6060 Wilshire Boulevard, Mid-Wilshire, Los Angeles)
More info at Petersen Automotive Museum.
I wish a had a better answer to the question where were you when David Bowie died? than, "sitting at my desk, staring dumbly at the computer screen." While the ideal place to read every instant online tribute and RIP, it was hardly a memorable location to get the news that one of our era's most brilliant creative lights had gone out, leaving in his wake millions of broken-hearted fans and a discography unequaled in modern music.
But, like millions of other Bowie lovers at their computers, I could meditate on his music videosfrom the painfully ill-conceived to the harrowing and profound; contemplate his film work; and call up with a mouse click my favorite songs. Its beyond clich to point out Bowies exuberant embrace of change, but it bears repeating that his embrace of technology was a key component in the evolution of his many personae.
Bowie was as adaptable to the age of YouTube as he was to the analog days of glam. Several lesser albums notwithstanding, the major Bowie upgrades inspired adoration from new generations of fans in every decade of his career since the 70s. Always willing to take risks and do something different, writes Nicholas Pell at L.A. Weekly, what he was not willing to do is become an oldies act.
Pell also advances an unpopular opinion sure to irritate many a Bowie fan. Bowie, he argues, wasnt an innovator, but an early adopter of what the real vanguard artists were doing. Skipping the strange, unsuccessful late 60s recordings and standard, psychedelic-tinged folk cribbed largely from Donovan, Pell begins by noting that Ziggy Stardust and A...
Traditionally, you'd expect to find portraits of your favorite artists painted on canvas or carved into marble. Today, however, you can find their famous faces splashed on all sorts of objects, including unconventional action figures, art history-inspired accessories, and, thanks to Chatty Feet, a silly set of novelty socks.
Bound to bring out the artisan in everyone, this fun footwear features portraits of four of modern arts most well-known figures: Vincent van Gogh, Frida Kahlo, Pablo Picasso, and Andy Warhol. Each depiction is rendered in a color scheme associated with the artist, from the Post-Impressionist palette of Van Gogh's Starry Night palette to the blue-and-white stripes of Picasso's signature shirt.
In addition to this tonal attention, Chatty Feet has designed the socks with a toe-tally fun twist in mind: the artists have been comically renamed as Vincent van Toe, Frida Callus, Pablo Feetasso, and Andy Sock-hole. This seemingly small detail transforms the funny portraits into pun-ny masterpieces, enabling you to express both your creativity and clever side from head to toe.
You can find this silly set of famous artist socks in the...
Theres nothing substantially new offered up by the latest from Mathias Eick, and thats really not a criticism. The trumpeters melody-driven form of Nordic Jazz has kept to a tight focus in terms of expression. Sometimes, like on his debut, The Door, it possesses some eccentric quirks that give melodies curious shapes and emergent 
Entrance to Tarsila do Amaral: Inventing Modern Art in Brazil at the Museum of Modern Art (MoMA) (all photos by Elisa Wouk Almino/Hyperallergic unless otherwise noted)
In Brazil, the painter Tarsila do Amaral is so beloved and well known that we just call her Tarsila. Not surprisingly, Brazilians in New York are very excited by the exhibition of her work currently at the Museum of Modern Art. Many made it to the shows opening weekend, proudly posting pictures to their Instagram accounts. Osklen, a Brazilian fashion brand, launched a clothing line inspired by Tarsilas art, to coincide with the MoMA display (I caved and bought the T-shirt). When I heard about the show over a year ago, I immediately penciled it into my calendar.
The MoMA exhibition, which traveled from the Art Institute of Chicago, credits Tarsila with inventing modern art in Brazil. It is a grandiose statement, but I dont think many Brazilians would take issue with it. In our textbooks, she is considered the first artist to have developed distinctly Brazilian art in the 20th century.
In the last few years, major New York museums have staged exhibitions devoted to Brazilian artists, including Lygia Clark, Hlio Oiticica, and Lygia Pape. There has been a certain giddiness among Brazilians to see these exhibitions at big-name institutions an excitement that the world stage is finally starting to pay attention to their art. These exhibitions have delightfully complicated the exotic, sensuous, and facile image that many Americans have of Brazil. But for me, and perhaps for o...
As Ive written in these pages probably a few too many times by now, one of the great joys of living in Cleveland, Ohio is a tight-knit music scene bursting with exceptional talent. From the Ur days of the eels and Rocket to the current scene thats home to Cloud Nothings...
Magic is realhear me out. No, you cant solve lifes problems with a wand and made-up Latin. But there are academic departments of magic, only they go by different names now. A few hundred years ago the difference between chemistry and alchemy was nil. Witchcraft involved as much botany as spellwork. A lot of fun bits of magic got weeded out when gentlemen in powdered wigs purged weird sisters and gnostic heretics from the field. Did the old spells work? Maybe, maybe not. Science has become pretty reliable, I guess. Standardized classification systems and measurements are okay, but yawn dont we long for some witching and wizarding? A well-placed hex might work wonders.
Say no more, weve got you covered: you, yes you, can learn charms and potions, demonology and other assorted dark arts. How? For a onetime fee of absolutely nothing, you can enter magical books from the Early Modern Period.
Twas a veritable golden age of magic, when wizarding scientists like John DeeQueen Elizabeth's soothsaying astrologer and revealer of the language of the angelsburned brightly just before they were extinguished, or run underground, by orthodoxies of all sorts. The Newberry, Chicagos Independent Research Library Since 1887, has reached out to the crowds to help unlock the mysteries of rare manuscripts and bring the diversity of the time alive.
The librarys Transcribing Faith initiative gives users a chance to connect with texts like ...
there are two stories i want to tell you that i dont have all the words for
in the beginning of the story i look up images of
cenotes on the internet at 5 a.m. in a Best
Western in Amarillo, Texas. cenotes, as Gloria Anzalda theorizes them, are about cosmic
depth experienced through the natural world. a belly or womb hidden within the lands surface.
cavernous and wet. i want to see how the earth breaks. how it betrays itself. its form. i want to
betray the thing that keeps me from writing these stories. stories that themselves have
everything to do with disobedience and rupture. the stories are about breaking the law. the story
is about breaking the geography of how we tell stories. for example, the belly of my story from
rupture to rupture is 746 miles long.
i want the cenote to swallow my fear whole. i want it to give me my words back. to break my
* * *...
Der Hamburger Knstler Bjrn Holzweg war schon mehrere Male bei der Millerntor Gallery mit am Start, krzlich ist er mit Viva con Agua nach Los Angeles gereist und hat whrend der WATERWEEK eine Wand gemalt. Neben Bjrn Holzweg sind LOW BROS, Typeholics (Hamburg), Itsthevibe, John Brmstrup (Berlin), Tim Bengel (Stuttgart), Crushow (Los Angeles) als auch das Knstlerkollektiv Gigi & Amando feat. Capt. Clepto (Hamburg) in Los Angeles am Start, wenn es wieder heit WATER IS LIFE. Warum Los Angeles? Kalifornien ist nicht nur ein fantastischer Melting Pot fr Kunst, Musik und Sport, sondern hat mit der Nhe zur Social Business und Startup Szene in Kalifornien, diversen Colleges und Sportvereinen auch beste Grundlagen fr den Start der erfolgreichen Initiative aus Deutschland. Nicht zuletzt leben bereits einige langjhrige Supporter aus Hamburg wie zum Beispiel Malte Hagemeister (iPunx) und Nils Arend (Optimist Inc) in Los Angeles, die vor Ort massiv beim Netzwerken und Umsetzen der Aktivitten untersttzen. Whrend der WATERWEEK vom 19. 25. Mrz fanden neben diversen Kunstaktionen auch Konzerte und Sportevents statt. In Anlehnung an die Wassertage von 2007, 2009 und 2011 findet 2018 das erste Mal die WATERWEEK in Los Angeles statt. Gemeinsam mit dem bermut Project bringen die Interessengemeinschaft ...
Here in the 21st century, now that we've determined the ideal form of human society and implemented it stably all across the world and of course, you're already laughing. Well over 5,000 years into the history of civilization, we somehow find ourselves less sure of the answers to some of the most basic questions about how to organize ourselves. It couldn't hurt, then, to take six or so minutes to reflect on some of history's most enduring ideas about how we should live together, the subject of this quartet of animated videos from BBC Radio 4 and The Open University's History of Ideas series.
The first two segments illustrate the ideas of two ancient thinkers whose names still come up often today: Confucius from China and Plato from Greece. "The heart of Confucian philosophy is that you understand your place in the universe," says narrator Aidan Turner, best known as Kli the dwarf in The Hobbit films.
"Ideally, it is within the family that individuals learn how to live well and become good members of the wider community." A series of respect-intensive, obligation-driven, family-like hierarchical relationships structure everything in the Confucian conception of society, quite unlike the one proposed by Plato and explained just above. The author of the Republic, who like Confucius didn't endorse democracy as we think of it today, thought that voters "don't realize that ruling is a skill, just like navigation.
Arschfaltenquintett, Betrunken im Klappstuhl, Pep im Khlschrank: Kein anderes Musikgenre war je auch nur ansatzweise so kreativ in der Namensfindung wie Punkbands. Das Katapult Magazin hat sich die Mhe gemacht und die Namen deutscher Punkbands der letzten Dekaden zu recherchieren und auf der Landkarte zu verorten. Eine groartige Sammlung deutscher Punkkultur. Die Karte gibt es auch fr zuhause als gedrucktes A1 Poster erhltlich im Katapult Shop fr rund 12 Euro. Und vermutlich drfte die Karte ziemlich bald ausverkauft sein.
Der Beitrag Arschfaltenquintett, Betrunken im Klappstuhl, Pep im Khlschrank: Karte mit Namen deutscher Punkbands erschien zuerst auf URBANSHIT.
Wir knnen nirgendwo hin gehen prallen die Worte in der letzten Arbeit von Katya Elizarova (a.k.a. Quelish). Ich bin enttuscht von der Welt, wie ich sie kannte und Die Trume waren anders sind weitere kyrillische Botschaften, die gut lesbar und doch unlesbar fr alle sind. Russian Pain, so nenne ich diese Entwicklung, die ich in der alternativen Szene und der Subkultur Russlands seit ein paar Jahren beobachte. Den russischen Schmerz neigen wir schnell zu verurteilen, als bertrieben, zu dick aufgetragen, ja sogar pathetisch. Gleichzeitig akzeptieren wir andere Formen des knstlerischen Ausdrucks von Schmerz, wie zum Beispiel den portugiesischen Fado (saudade = Traurigkeit, Wehmut, Sehnsucht, Fernweh), widerspruchslos. Warum ist das so? Fotos: Antoine Te Ich esse lieber russische Scheisse, als amerikanischen Kuchen, fallen mir die Worte vom Anfang eines revolutionren Filmes ein, in dem der Held fr seine berzeugung in den Kerker geworfen wird. Amerikanische Scheisse, russische Kuchen und umgekehrt scheinen sich in den letzten Wochen und Monaten nicht mehr so klar auseinanderhalten zu knnen, wie das einst die Propaganda des 20ten Jahrhunderts suggeriert hat. Eins ist jedoch unverndert geblieben: die Emigration der russischen Knstler und die russische Kultur im Exil (migr art), die sich wieder (oder weiterhin) auf Berlin und Paris konzentriert und ...
When thirty-six-year-old Walt Whitman self-published Leaves of Grass in the summer of 1855, having poured the whole of his being into this unusual and daring labor of love, it fell upon unreceptive and downright hostile ears a rejection that devastated the young poet. But over the coming decades, largely thanks to Emersons extraordinary letter of endorsement and encouragement, it became one of the most beloved books in America a proto-viral masterpiece that forever changed the face and spirit of literature, bold and fresh and replete with incomparable things said incomparably, creaturely yet cosmic, bridging the earthly and the eternal yet larger than both.
Twenty-one years after Whitmans death, Everymans Library series creator J.M. Dent published what remains the most beautiful edition of the Whitman classic a large, lavish tome bound in green cloth, with the title emblazoned in gilt. But the crowning curio of this rare, spectacular 1913 edition a surviving copy of which I was fortunate to acquire at the New York Antiquarian Book Fair are twenty-four color plates by the English artist Margaret C. Cook....
Judy Chicagos The Dinner Party Home Collection, produced in collaboration with Prospect NY (photo by Alec Kugler, all courtesy Prospect NY unless otherwise noted)
In The Dinner Party, Judy Chicagos famous triangular installation, plates serve up slices of womens history, rather than food. Now, designs from the symbolic banquet are available to actually eat off, thanks to a new collaboration between the artist and homeware purveyor Prospect NY. The collection features replicas of four plates, crafted in fine bone china and yes, theyre dishwasher safe.
Just over a year old, Prospect NY works with contemporary artists to design and develop small-batch collections of household objects, from towels to candles. Its collaboration with Chicago marks the first time that the artists famous plates depicting vulvar forms have been made to be functional (although you can purchase them as coasters). Working with Prospect NY founder Laura Currie, Chicago chose to adapt the representational place settings for the Primordial Goddess, Sappho, the Amazon warriors, and Queen Elizabeth I, or Elizabeth R.
A scene from Painters Painting (Emile de Antonio, 1973) (screenshot by the author)
The problem of American painting had been a problem of subject matter, goes the opening voice-over in Emile de Antonios seminal 1973 documentary Painters Painting. Painting kept getting entangled in the contradictions of America itself. We made portraits of ourselves when we had no idea who were; we tried to find garden landscapes that we were destroying as fast as we could paint them; we painted Indians as fast as we could kill them; and during the greatest technological jump in history, we painted ourselves as a bunch of fiddling rustics. His film goes on to depict a New York art scene that has found its voice in abstraction.
The film, a rare 16mm print of which screens on Thursday at the New York Public Librarys Seward Park branch, offers a very thorough survey of the citys contemporary art scene in the 1970s, with Willem de Kooning, Jasper Johns, Robert Rauschenberg, Helen Frankenthaler (the lone female artist profiled), Frank Stella, Andy Warhol, Larry Poons, and Kenneth Noland discussing their processes and sharing their thoughts on the state of painting in their studios....
On the 11th of April 1946, the American performance artist Chris Burden was born in Boston, Massachusetts, the US. Among other things, Burden has been described as a masochist; an avant-garde novitiate; a social therapist; an existential populist; a hero; the alter ego of the biblical Samson; a helpless, passive victim; a heroic victim; an anthropologist; someone inclined toward the scientist, engineer, inventor, tinkerer; a victim-by-request; the hero of an impossible quest (a modern Don Quixote); a voluntary scapegoat; and a survivalist. (Frazer Ward, Watching Shoot, October, Vol. 95, Winter, 2001).
So, what has he done to earn all of these epithets? Above all, Burden should be noted for the extreme courage in incorporating his own body into the aesthetic experience of suffering. Burden is one of the very few artists bravely transgressing the boundaries, limitations and definitions of art, causing, subsequently, some confusion as to the meaning of art per se. Officially known as the artist who shot himself, in 1971, he performed an act of being shot in his left arm by his friend standing five metres away from him. The performance took place in a gallery space to an audience of ten people. Asked to comment on the performance, Burden simply said: At 7:45 p.m. I was shot in the left arm by...
GIRLSCHOOL can be found on all social media @GirlSchoolLA and at www.girlschoolla.com.
The post Why Women-Identified Artists Created Their Own Festival appeared first on Hyperallergic.
A poster protesting the downsizing of UT-Austins Fine Arts Library in the E. William Doty Fine Arts Building (photo by and courtesy Abigail Sharp)
Although thousands of books, journals, and other analog materials were previously at risk of being removed from the Fine Arts Library at the University of Texas at Austin, it was announced on Friday that many of these changes would not come to fruition. This was due in large part to the public efforts of many on campus and within the Austin arts community. For the better part of a year, students, faculty, staff, librarians, museum professionals, artists, and many members of the public worked tirelessly to protest further removal of books and materials, after discovering that, over the summer of 2017, around 75,000 items from the Fine Arts Library had been removed to off-site facilities. The rest of the items held by the library which predominantly occupied the fifth floor of the Doty Fine Arts Building also appeared to be at risk of removal....
Attend the best Derby Party outside of Louisville! Smack Mellon will hold its annual benefit and art auction on Saturday, May 5, 48pm in its gallery space in Dumbo, Brooklyn. One ticket admits two and includes one work of art. Guests bet on horses, which determines the order in which the artwork is selected. Betting window opens at 4pm and closes at 6pm. Party goes until 8pm.
Enjoy live music, delicious mint juleps, and home-style southern food. Dont forget to wear your best hat! Prizes go to the best hats in 2 categories: Most Creative and High Fashion.
MC: Legs Malone
Music: The Hot Papa Jazz Band
Hat Judge: JiaJia Fei
Benefit Art Exhibition
On view April 28May 4
Opening Reception: April 28, 68pm
Gallery Hours: Wednesday-Sunday, 126pm
The Smack Mellon benefit will raise funds to support our programs, which include an Exhibition Program that features ambitious large-scale projects by emerging and under-recognized artists; an Artist Studio Program that provides artists with free studio space, access to fabrication and media equipment, and a $5,000 fellowship; and our free education program, Art Ready, that provides innovative art programming to disadvantaged NYC youth....
What men are poets, the Nobel-winning physicist Richard Feynman asked in what may be the worlds most poetic footnote, who can speak of Jupiter if he were a man, but if he is an immense spinning sphere of methane and ammonia must be silent? Two centuries before him, the poet William Wordsworth had insisted that poetry is the breath and finer spirit of all knowledge the impassioned expression which is in the countenance of all Science.
I too have long cherished this unheralded common ground between poetry and science as complementary worldviews of contemplation and observation a cherishment of which The Universe in Verse was born and have encountered no more beautiful an articulation of it than the one Ursula K. Le Guin (October 21, 1929January 22, 2018) offered in the preface to her final poetry collection, Late in the Day (public library)....
In his arresting meditation on how we use language to reveal and conceal reality, Nietzsche defined truth as a movable host of metaphors, metonymies, and anthropomorphisms: in short, a sum of human relations which have been poetically and rhetorically intensified, transferred, and embellished. Truth, of course, is not reality but a subset of reality, alongside the catalogue of fact and the question of meaning, inside which human consciousness dwells. Only art penetrates the seeming realities of this world, Saul Bellow asserted in his superb Nobel Prize acceptance speech. There is another reality, the genuine one, which we lose sight of. This other reality is always sending us hints, which without art, we cant receive.
How the creative impulse from which art arises unlatches that other reality is what cinematic philosopher Werner Herzog explores in an essay titled On the Absolute, the Sublime, and Ecstatic Truth. Originally delivered as an extemporaneous speech following a Milan screening of Herzogs film Lessons of Darkness and later translated by Moira Weigel, it touches on a number of questions that have occupied Herzog for as long as he has been making art questions he explores from other angles throughout Werner Herzog: A Guide for the Perplexed (public library)....
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