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“Solo was going to fire again but suddenly an invisible force swept up his pistol and delivered it to Vader’s hands.” A panel from Diguo Fanjizhan’s The Emperor Strikes Back (1982) (image courtesy Orion Martin) China’s Pulp Comics When: Tuesday, January 24, 7pm Where: Parsons School of Design (2 W 13th Street, Greenwich Village, Manhattan) For the NY Comics & Picture–story Symposium, Hyperallergic contributor Orion Martin will discuss what he calls the “largest comics industry ever”: China’s pulp comics.
The Spertus Institute, designed by the Chicago-based Krueck and Sexton Architects, one of the architecture firms that signed the open letter to Donald Trump (photo by John Zacherle/Flickr) Just ahead of Donald Trump’s inauguration last Friday, over 400 American architecture firms signed an open letter advising action on climate change.
Agustina Woodgate’s Radio Espacio Estacion (image courtesy Diana Larrea) MIAMI — While its walkability and bike-ability are questionable, Miami was once an epicenter for bicycle tourism.
Installation view, Corrie Baldauf, “GOLD ZERO” (2016) (all photos by Jack Johnstone, courtesy of Corrie Baldauf) We make much these days of the growing inability for the average person to see things that are plainly within sight (hello, incipient fascist dictatorship!
Marc Chagall’s “The Meeting of Ruth and Boaz” (left) and Pablo Picasso’s “Faune Devoilant une Femme” (right) (screenshot by the author via NBC) Miami resident and confessed art thief Marcus Sanford Patmon was arrested on Wednesday after driving a stolen car some 1,000 miles to Arlington, Virginia, where “he was looking to be pardoned by the Obama administration before the Trump administration came in,” Arlington Police Department spokesperson Ashley Savage told NBC.
Satellite imagery of the tetrapylon and Roman amphitheater after the significant damage by ISIS militants (all images courtesy ASOR Cultural Heritage Initiatives and DigitalGlobe) ISIS militants have reputedly wrecked two additional sites in Palmyra, in acts of cultural oppression that began just weeks after the terror group regained control of the ancient city from Syrian government forces.
David Shrigley, “Really Good” (photo by Gautier Deblonde) For the past five months, those crossing London’s Trafalgar Square received a massive thumbs up courtesy of David Shrigley, whose sculpture “Really Good” sat atop the Fourth Plinth.
Pierre-Etienne Morelle, “Exploded View” (2016), installation view, wood, ratchet straps, handles, glass, rubber, brass (photo by the author for Hyperallergic) MILAN — The small basement is less a white cube and more a kind of temporary site, but it’s still a gallery, one of the youngest such spaces in central Milan.
Lauren Berlant, the George M. Pullman distinguished service professor in the department of English, Monday, July 28, 2014, on the University of Chicago campus.
Pavel Pepperstein, from the series “A History of Futuristic Hallucinations” (2016) (all photos by Antonio Maniscalco, courtesy of the artist and Iragui Gallery) MILAN — To be familiar with the work of Pavel Pepperstein means to inhabit a twofold concept of history: Events are seen as occurring simultaneously in the past and the future, as both tenses gaze into each other from across the cosmic table, wondering about the significance of temporal distance and the numbers that bear it like a metal conductor carrying heat in opposite directions.
Siesta Argentina [Argentine Siesta] series, ed. 2/3, 2003 (one of 36 gelatin silver prints), 10 x 12 ¾ in.
Betty Blayton-Taylor (photo © Adjua Mantebea) On Sunday, October 2, 2016, in the Bronx, Betty Blayton-Taylor, an unsung figure in the art world, quietly transitioned into the spiritual cosmos she often conjured in her abstract metaphysical work.
MouSen + MSG, “The Great Chain of Being – Planet Trilogy” (2016) (all images courtesy Shanghai Biennale) SHANGHAI — A gigantic metallic structure resembling a crashed airplane beckons from the second level of the vast Shanghai Power Station of Art that is host to the 11th edition of the Shanghai Biennale.
A sign from the NYC Women’s March (photo by Hrag Vartanian/Hyperallergic) Yesterday, over three million (and some say over four million) people joined the Women’s Marches across the United States and the world.
Vincenzo Danti, “Honour Triumphant over Falsehood” (1561, front view), marble, height: 187 cm, Museo Nazionale del Bargello, Florence (image via Web Gallery of Art) Last week, Hyperallergic Weekend began its new series, Drawing in a Time of Fear & Lies, with “Various Dismal Futures” (2016) by William Powhida, and continues this week with “Schlongface” (2016) by Judith Bernstein.
Full disclosure: My daughter took a creative writing course from the author of this book. She told me he disapproved of any poem with a simile in it.
The author and Albert Murray at a book launch event for Murray’s novel “The Magic Keys” (photo courtesy the author for Hyperallergic) When Albert Murray died in August 2013, a friend of mine expressed surprise that his obituary had appeared on the front page of The New York Times.
A year ago, the likelihood of a new Tribe Called Quest album was the last thing on anyone’s mind. The legendary ‘90s rap crew had broken up in 1998, for over a decade they’d been vehemently insisting they’d make no more new music together, and although every now and then they’d team up for the occasional concert, the creative energy was presumed gone.
Katherine Bradford, “Moon Jumper” (2016), acrylic on canvas, 72 x 60 inches (all photographs by Jason Mandella, courtesy the artist and CANADA, New York) For the legions of Katherine Bradford enthusiasts — of which I am one— this exhibition of eight paintings might seem to hold few surprises, especially if you think of bathers frolicking in the sea as one of her enduring themes.
Marina Adams, “3” (2015), gouache on Arches Paper, 12 x 9 inches (all images courtesy Salon 94 Bowery) When I was looking at Marina Adams’s five large paintings in her terrific debut exhibition, Marina Adams: Soft Power, at Salon 94 Bowery (January 13–February 22, 2017), I felt that she shared something with the superb colorist, the Russian-born Serge Poliakoff (1908–1969), who, while he remains little known in America, gained a number of ardent fans who saw his work in Paris, where he lived and worked for many years, Shirley Jaffe, Brice Marden, and Jonathan Lasker, among them.