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Installation view of ‘Sean Scully: Circa 70’ (courtesy Cheim & Read, New York) (click to enlarge) The Irish-born, London-educated, abstract painter Sean Scully established a signature style of painting nearly four decades ago.
Light City at dusk (courtesy Baltimore Office of Promotion & The Arts) Are you a visual artist working in the medium of light?
The Stonewall Inn on Christopher Street in Greenwich Village, as seen in August 2008 (photo by Johannes Jordan/Wikimedia) Today the beige Stetson hats of the National Parks Service (NPS) will start appearing at the Stonewall Inn on Christopher Street in Manhattan’s Greenwich Village, as the site was declared a national monument on Friday.
Early image responding to the disaster by photographer Le The Thang. On the left, “I choose fish and shrimp,” and on the right, “where can I swim now?
Stephen Petronio rendition of “The Courtesan and the Crone” by Anna Halprin (2016). Exhibition detail from ‘Ally,’ produced in collaboration with The Fabric Workshop and Museum (photo by Carlos Avendaño; all images courtesy of the artists and The Fabric Workshop and Museum, Philadelphia) PHILADELPHIA — Ally, a new exhibition at the Fabric Workshop and Museum in Philadelphia, is a collaboration between artist Janine Antoni, choreographer Stephen Petronio, and movement artist and activist Anna Halprin.
Yves Saint Laurent, “Embroidery Case Study Dress” (spring/summer 1983 haute couture), upper level gallery view (image courtesy Fondation Pierre Bergé-Yves Saint Laurent, Paris © The Metropolitan Museum of Art) A clever way of telling if a piece of clothing is a knock-off is to look at the stitching: if it’s crooked, it’s probably been hastily assembled in some sweatshop; if it’s straight, it’s been meticulously formed with the utmost sensitivity to detail in an atelier.
This new EU flag is reimagined by Felix Burrichter post-#Brexit. (via his Facebook profile page) This week, court room comedy, typography in Blade Runner, Trump’s architectural legacy, China’s deleted buildings, white working class, and more.
Paolo Veronese, “Girl in the Doorway” (1560-61), fresco, Villa Barbaro, Maser, Italy (image via Web Gallery of Art) On Thursday, Great Britain decided to leave.
In what is more than the affectionately memoiristic Afterword it pretends to be — rather, a fiercely searching critical overview of the New York poetry world of the 1980s — Douglas Crase evokes a lost milieu in which “criticism was communicated by an eye roll, groan, laughter, or shared enthusiasm.” I can’t tell you how nostalgic it makes me feel to read that line at a time when criticism is routinely dealt out by social media death squad.
Donald Britton (courtesy Nightboat Books) This slim volume of poetry might stir up the tears you have been keeping inside you, especially if, like me, you are old enough to remember the 1980s and the AIDS epidemic, the seemingly endless roll call of people you knew and didn’t know who died horribly.
Stephen Westfall, “The Future Advances and Recedes” (2015), oil and alkyd on canvas, 78 x 66 inches (all images courtesy Lennon, Weinberg, Inc.) Ten years ago, in an interview that I did with Stephen Westfall (Brooklyn Rail, April 2006), he said that he was interested in a skewed grid because it looked as if “the whole thing could tremble and be knocked over.” In 2007, Westfall did his first wall paintings at Solvent Space, Virginia Commonwealth University, in Richmond, Virginia.
Peter Paul Rubens, “Rape of Europa after Titian” (1628-29), oil on canvas, 71 7/8 x 79 3/8 inches (© Photographic Archive, Museo Nacional del Prado, Madrid) Art and power have a strong mutual attraction; in the West, their passionately shared interest is the nude body – particularly the female one.
Colin Farrell and Rachel Weisz in “The Lobster” (all images courtesy A24) (click to enlarge) Like the diabolical spawn of Franz Kafka and Michael Haneke, the Greek filmmaker Yorgos Lanthimos sets unfortunate humans loose in mazes of arbitrary, absurd authority and films them with an indifference that borders on cruelty.
The artists featured below have little in common beyond deeply questionable, occasionally revolting public personas and a stubborn willingness to produce compelling art from these personas.
Installation view of the Oswald Oberhuber exhibition at 21er Haus in Vienna, with the artist’s oil paintings of teeth, from the 1960s, visible in the foreground (photo © Belvedere, Vienna) (click to enlarge) VIENNA, AUSTRIA — Achtung, baby!
(screenshot by Hyperallergic via Twitter) LONDON — After two days of torrential rain, I woke up at 6am this morning to bright sunshine, surely a sign that all would be well.
Rodney McMillian: Views of Main Street (installation view). The Studio Museum in Harlem. (all photos by Adam Reich, courtesy the Studio Museum, unless otherwise noted) There has been a good deal of conversation in the last few years around the subject of Congressional district gerrymandering, a process by which the boundaries of an electoral constituency are manipulated to favor a political party or a class.
Installation view of ‘JR at the Louvre’ (all photos by the author for Hyperallergic) (click to enlarge) PARIS — We have long loved our illusions.
Installation view of Bronx Focus: Paintings by Valeri Larko (All images courtesy of the artist and The Bronx Museum of the Arts) In some ways it makes sense that Valeri Larko, a committed plein air painter, would have an exhibition, Bronx Focus: Paintings by Valeri Larko, at the Bronx Museum of the Arts that essentially chronicles the changing landscape of the borough.