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Photographer Stefan Draschan patiently waits for people who match the art they’re looking at to come by and then snaps a photo.
Installation view of Sonya Clark’s “Unraveling” (all images courtesy Speed Museum) LOUISVILLE, Ky. – Last Saturday was not the first time Sonya Clark has deconstructed a Confederate Flag.
“Nuh-nuh-nuhthing can break/nuh-nuthing can break me down,” intones Brandon Flowers on “The Man,” the Killers’ lead single from their new Wonderful Wonderful, out since September.
Rudolph Burckhardt and Edwin Denby, “A Walk through Astoria and Other Places in Queens” (1943), album of 71 gelatin silver prints mounted to 25 sheets of gray card, printed c.
SEOUL, SOUTH KOREA 19 OCTOBER 2017 North Korean officials are still scrambling to make sense of the Olympic Committee’s sudden announcement late last night of Pyongyang’s winning bid to host the 2020 games.
Nicolas Carone, “Orpheus” (1960), oil on canvas, 48 3/8 x 60 inches (courtesy of the Estate of Nicolas Carone) In a painting from 1989, Nicolas Carone deploys airy zigzags of luminous beige.
Installation view of “Philadelphia Assembled” (courtesy Philadelphia Museum of Art) PHILADELPHIA — Unless you were born without a heart, Philadelphia Assembled, an exhibition on civic engagement initiated by artist Jeanne van Heeswijk and currently on view at the Philadelphia Museum of Art, will very likely provoke tears.
Installation view of Rose DeSiano’s “Island of Empirical Data and Other Fabrications” (all photos by Toby Tenenbaum) Randalls Island and Wards Island occupy a liminal position in New York City’s geography.
Lee Friedlander, “Father Duffy. Times Square, New York, New York” (1974), gelatin silver print, 7 1/2 x 11 1/4 inches (all photographs © Lee Friedlander, courtesy Fraenkel Gallery and Eakins Press Foundation) As public symbols of civic virtue and regional pride, the formal and iconographic range of monuments, memorials, and other commemorative statuary in American culture is truly astounding.
Chuck Boyce, “Urb” (2016), oil on canvas, 28 x 22 inches (all images courtesy Edward Thorp Gallery, New York) Edward Thorp has always had a knack for finding artists.
Terracotta lamp from Anatolia with curled-up sleeping dog in high-relief (1st-4th c. CE) (all images courtesy of the J.
Screenshot of Foldit (via Animation Research Labs, University of Washington/Wikimedia) The University of Washington launched the online game Foldit in 2008, and since then it has successfully engaged the public in solving puzzles for science.
Virus Tropical (Animation Is Film Festival) Over the course of the nearly ten years since its founding, indie film company GKIDS has carved out an increasingly strong niche for itself as a distributor of foreign animated films.
Frank Lloyd Wright Paper Models: 14 Kirigami Buildings to Cut Out and Fold (courtesy Laurence King Publishing) With the recently-released Frank Lloyd Wright Paper Models: 14 Kirigami Buildings to Cut Out and Fold from Laurence King Publishing, you can build tiny models of Fallingwater, the Guggenheim Museum, and Taliesin West.
Deborah De Robertis performing “Ma chatte, mon copyright” at the Louve (© Deborah De Robertis, photo by Guillaume Belvèze) PARIS — On October 18, as the rest of the art world in Paris ogled the art objects at the FIAC (Foire Internationale d’Art Contemporain) art fair’s grand opening, French-Luxembourg artist Deborah De Robertis was fighting in court.
Spread from Photographic Treatment by Laurence Aëgerter, published by Dewi Lewis (all images courtesy the artist) A winding slide and a flamingo’s arcing neck.
Jim Marshall, New York, NY (1963) (from Jim Marshall: Peace, © Jim Marshall Photography LLC) Between 1961 and 1968, photographer Jim Marshall followed the spread of the peace sign.
Peter Krashes, “Empty Mics” (2008) oil on linen, 63 x 84 inches (courtesy of the James Gallery, CUNY) Peter Krashes’s paintings have often drawn on distinctly personal material: flight patterns circling his parent’s house, intimate portraits of his husband (the artist Oliver Herring) or Krashes’s own body undergoing physical therapy.
Ken Gonzales-Day, “Untitled #28,”(1996) Bone-Grass Boy Series, C-Print, 22 ½ x 34 ¼ inches (image courtesy of the artist and Luis De Jesus Los Angeles) LOS ANGELES — Created almost entirely during the 1990s, Ken Gonzales-Day’s exhibition Bone-Grass Boy: The Secret Banks of the Conejos River is historical, yet urgently timely.
Wangechi Mutu, “Throw” (2016), site-specific action painting (image courtesy the artist) When Dadaism began, it was primarily a response to World War I, to depressing nationalism and audacious capitalism.