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Scott Hess, “Soul” (2005), oil on canvas, 54 x 66 inches (courtesy of the artist) When art and commerce mix, a certain level of mania is inevitable: it’s what you get when passion and pragmatism collide.
A photography by Tod Seelie, who will be having a zine release party at Superchief on Saturday. (via Facebook) LOS ANGELES — This week, a show on LA’s 100 year old aqueduct opens, it’s the last chance to see Helen Johnson’s schizophrenic hanging canvases, there’s a zine release party for photographer Tod Seelie, and more!
Nelson Shanks’s “William J. Clinton” hanging in the National Portrait Gallery in Washington, DC in 2008.
Color could impact image-sharing (Image via Wikimedia) Last week, a dress went viral because no one could decide whether it was white and gold or black and blue.
Curator Kelman Duran with gif art by Simon Pecco (all photos by the author for Hyperallegic) LOS ANGELES — “In the 1990s, after NAFTA, the border, and border art specifically, was viewed as a utopian thing, a hybrid of both cultures, the best of both worlds.
Robert Irwin, “Untitled (Four Walls)” (2006), special exhibition at the Chinati Foundation (all images courtesy Chinati Foundation) A couple of weeks ago, I went to 101 Spring Street, the former home and studio of Donald Judd, to hear about a new Robert Irwin project to be built at the Chinati Foundation in Marfa, Texas.
Jeff Gibson, “Destruction of ‘Home Sweet Home'” (2015). Part of ‘Destroy, she said,’ opening this week at The Boiler, Greenpoint (courtesy The Boiler) It’s here again, and the art volk will be descending on New York for Armory Week.
DIS Magazine’s ‘#artselfie’ book, published by Jean Boîte Éditions, Paris (all images courtesy Jean Boîte Éditions) The selfie exists everywhere that people own smartphones.
Janet Delaney, “Helen and her Husband at the Helen Cafe, 480 6th Street” (1980) (all images courtesy of the deYoung Museum) You might call the South of Market area in San Francisco the cradle of gentrification.
“Performing Objects: Future Archaeologies,” an experiment led by artist Mary Mattingly and educator Tricia Fitzpatrick at Creative Chemistries (© Lloyd Mulvey) (all images courtesy ART21) Last month, ART21 hosted an intricately interdisciplinary affair: Creative Chemistries: Radical Practices for Art + Education, a conference designed to probe the intersections of art and education.
Inside the 2014 Armory Show (all photos by the author for Hyperallergic unless noted otherwise) It’s time for the art world’s annual migration to the far, far, far west side of Midtown Manhattan for the Armory Show and its many satellite art fairs.
Derval’s article on Linkedin.com (screenshot by author for Hyperallergic, via Diana Derval/LinkedIn) In the last few days, a LinkedIn article about differences in individual color vision by Diana Derval, president and research director of DervalResearch and self-professed “expert in neuromarketing,” has made rounds on the internet.
Titus Kaphar, “Jerome I” (2014), oil, gold leaf and tar on wood panel, 10 x 7 x 1 inches (all images courtesy the artist and Jack Shainman Gallery, NY, unless otherwise noted) When artist Titus Kaphar began searching for his father’s prison records in 2011, he found the mugshots of 99 other black, incarcerated men who shared his dad’s first and last name.
Gallery owner James Cohan (center) with NeuYC members at the James Cohan Gallery during last year’s inaugural event.
Artist Richard Dadd, a patient at Bethlem (courtesy Bethlem Gallery and Museum) The name Bedlam is so evocative of chaos and madness, the real history of one of the world’s oldest institutions for the treatment of mental illness often goes detached from its public presence.
The BitchCoin logo, courtesy of the artist. Transactions in the art world tend towards the material: historically, collectors have exchanged their cash or patronage for physical artworks.
Marcia Kure, “Invasion of the Body Snatchers V. The Series: Unicorn” (2015), kolanut pigment, watercolors, and pencil on Arches HP watercolor paper (all images courtesy Susan Inglett Gallery) Looking at Marcia Kure’s watercolors and collages, the word that comes to mind is “torque”: “the twisting or rotary force in a piece of mechanism (as a measurable quantity); the moment of a system of forces producing rotation.” Although Kure’s organic forms have little to do with any “mechanisms,” they vibrate on the page, emitting a rotating force.
James Dean, still from Elia Kazan’s ‘East of Eden,’ the Museum of Modern Art Film Stills Collection (all images courtesy the Museum of Modern Art) Charles Silver has worked at the Museum of Modern Art (MoMA) since 1970, first in the film studies center and then (and still) as a curator in the department of film.
A countryside sliding glass house designed by dRMM is quite something to behold. (via Colossal) This week, Triennial opinions, a sliding glass house, theory of the dick pic, Facebook reveals how its users voted on #TheDress, LACMA collects Latin American colonial art, and more.