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Water Street Studios in Batavia, Illinois (all photos by the author for Hyperallergic) CHICAGO — I recently visited an exhibition at Water Street Studios in Batavia, about 40 miles West from the center of Chicago — the equivalent, say, of driving halfway across Long Island from Hyperallergic’s Brooklyn office.
Ceramic sculptures by Nicholas Nyland, presented by Spaceworks, at the Vazquez Building (all photos by the author for Hyperallergic) In hip-hop, the East Coast–West Coast rivalry has died down since the days of 2Pac and Notorious BIG, but perusing last weekend’s Exchange Rates expo in Bushwick you could easily have gotten the impression that it was now raging in the art world — and that West Coast artists and galleries are killing it.
The excavation site in Saratov (all images courtesy of Dmitriy Kubankin) It’s hard to imagine a time when present-day Russia didn’t exist.
A student-initiated meeting took place in the Main Building at CalArts last Thursday to address the issue of sexual assault.
The crowd at Storefront Ten Eyck during Beat Nite 11 (all photos by the author for Hyperallergic) Ah, Beat Nite.
Installation view of works at The Active Space (all photos by the author for Hyperallergic) It’s telling that Exchange Rates, last weekend’s Bushwick-wide art event, is described on its official website as “an exposition,” as opposed to a straightforward exhibition or a sales-driven art fair.
Barbara Nessim: An Artful Life is the first U.S. retrospective of a pioneering artist, professional illustrator, and early user of the computer as an artistic tool.
Rue Dénoyez (photo by Nelson Minar/Flickr) The tiny, two-block-long Rue Dénoyez in Paris’s 20th arrondissement has been one of the French capital’s foremost street art venues for years, but two subsidized housing projects could spell the end for this plein air gallery.
Installation view, ‘Ezra Johnson: It’s Under the Thingy’ at Freight + Volume (all photos by Adam Reich, courtesy the artist and Freight + Volume, New York) The title of Ezra Johnson’s solo exhibition at Freight + Volume, It’s Under the Thingy, is reminiscent of Amy Sillman’s flamboyant one lump or two at the ICA Boston and Bard’s Hessel Museum.
William Mortensen, “Untitled (staked witch scene)” (ca. 1927), silver gelatin print, montaged effect (all images courtesy Stephen Romano Gallery unless otherwise noted) Violence, nudity, and the occult collide in the photographs of William Mortensen, an American photographer who gained prominence in the 1930s and ’40s but today largely exists as an obscure name in the medium’s history.
Heidi Latsky speaking about her ‘The GIMP Project,’ which features disabled and nondisabled dancers (all photos by the author for Hyperallergic) Andreas Vesalius was a Flemish physician whose 1543 book, De Humani Corporis Fabrica (The Fabric of the Human Body), revolutionized our understanding of human anatomy.
A series of comics, ‘The Bus’ by Paul Kirchner (via butdoesitfloat.com) This week, Picasso Museum problems, Sweden’s font, content moderators, Frank Gehry’s f-you, John Constable reconsidered, the endangered bookshops of New York, and more.
Vincent van Gogh, “Burning Weeds” (July 1883), lithograph, 155 x 265 mm. Bibliothèque de l’Institut national d’histoire de l’art, Paris.
A high, piercing riff is twice ripped out of a harsh electric guitar before an intense blast of bass jumps out from underneath.
A few years ago, in an essay called “Why I Am a Member of the Christopher Middleton Fan Club” (The Brooklyn Rail, October 2010), I stated the need for “a selected prose that brings together all the different kinds of writing he has done.” Loose Cannons: Selected Prose (Albuquerque, University of New Mexico Press, 2014), which includes an insightful foreword by one of Middleton’s most vocal and articulate champions, August Kleinzahler, is pretty close to the book I had in mind.
David Humphrey, “Intended” (2011-2014), acrylic on canvas, 72 x 60 inches (all images courtesy of Fredericks & Freiser, NY, unless otherwise stated) What I hoped to get from talking to David Humphrey were answers.
Henri Matisse, “The Swimming Pool (La Piscine)” (late summer 1952), maquette for ceramic (realized 1999 and 2005).
Théodore Rousseau, “Study for The Forest in Winter at Sunset” (ca. 1846), oil over charcoal with white heightening on paper, mounted to canvas, 9 5/8 x 13 1/4 inches.
Joseph Cornell, Untitled, Gift of Mrs. John A. Benton. © The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, NY.