Art news http://feed.informer.com/digests/PUYTP9CCIR/feeder Art news Respective post owners and feed distributors Wed, 27 May 2020 10:58:15 +0200 Feed Informer http://feed.informer.com/ Period Pieces & Nails https://blog.lostartpress.com/2021/01/23/period-pieces-nails/ Lost Art Press urn:uuid:79044caf-b704-790f-aed6-57b07a82e89a Sat, 23 Jan 2021 18:16:35 +0100 I&#8217;ve been inundated with questions for the live stream Q&#38;A that Chris and I are doing on Saturday at 11 a.m. Eastern on January 30, so I&#8217;m afraid we won&#8217;t be able to answer all of them before it&#8217;s time for our weekly Saturday lunch at Crafts &#38; Vines (outside and socially distanced, of course).... <div class="wp-block-image"><figure class="aligncenter size-full"><img data-attachment-id="44096" data-permalink="https://blog.lostartpress.com/2021/01/23/period-pieces-nails/cut-nails/" data-orig-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?fit=4032%2C2516&amp;ssl=1" data-orig-size="4032,2516" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;1.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone XS&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1611419722&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.25&quot;,&quot;iso&quot;:&quot;125&quot;,&quot;shutter_speed&quot;:&quot;0.016666666666667&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="cut-nails" data-image-description="" data-medium-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?fit=300%2C187&amp;ssl=1" data-large-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?fit=600%2C374&amp;ssl=1" loading="lazy" width="640" height="399" src="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=640%2C399&#038;ssl=1" alt="" class="wp-image-44096" srcset="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?w=4032&amp;ssl=1 4032w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=300%2C187&amp;ssl=1 300w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=600%2C374&amp;ssl=1 600w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=150%2C94&amp;ssl=1 150w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=768%2C479&amp;ssl=1 768w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=1536%2C958&amp;ssl=1 1536w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=2048%2C1278&amp;ssl=1 2048w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=1200%2C749&amp;ssl=1 1200w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?resize=850%2C530&amp;ssl=1 850w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?w=1280&amp;ssl=1 1280w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/cut-nails.jpg?w=1920&amp;ssl=1 1920w" sizes="(max-width: 640px) 100vw, 640px" data-recalc-dims="1" /><figcaption>A small sampling of Tremont Nails</figcaption></figure></div> <p>I&#8217;ve been inundated with questions for the <a href="https://blog.lostartpress.com/2021/01/21/question-time-at-lost-art-press/">live stream Q&amp;A</a> that Chris and I are doing on Saturday at 11 a.m. Eastern on January 30, so I&#8217;m afraid we won&#8217;t be able to answer all of them before it&#8217;s time for our weekly Saturday lunch at <a href="https://craftsandvines.com/">Crafts &amp; Vines</a> (outside and socially distanced, of course). So, I&#8217;ll be tackling some of them on the blog. Here&#8217;s the first.</p> <p>Q: Where would you recommend for purchasing nails for period pieces?</p> <p>A: This is an easy one, because as far as I know, there are only two possible answers, and the appropriate one depends on what is meant by period. </p> <p>From the early 19th-century until the late 19th-century, cut nails were easily available (more easily the later one gets into the century). Today, as far as I know there is but one maker of cut nails: <a href="https://www.tremontnail.com/">Tremont Nail</a> (now owned by Acorn Manufacturing). So barring reclaimed nails from a salvage place, that&#8217;s the only supplier (I think). Tremont nails can be ordered direct from the company, but are available in smaller quantities from some retailers (<a href="https://www.leevalley.com/en-us/shop/hardware/fasteners/nails/40387-square-cut-nails">Lee Valley Tools</a> and <a href="https://toolsforworkingwood.com/store/item/BT-BOX.XX?searchterm=nails">Tools for Working Wood</a> among them).</p> <div class="wp-block-image"><figure class="aligncenter size-full"><img data-attachment-id="44100" data-permalink="https://blog.lostartpress.com/2021/01/23/period-pieces-nails/blacksmith/" data-orig-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?fit=4032%2C1825&amp;ssl=1" data-orig-size="4032,1825" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;1.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone XS&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1611419890&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.25&quot;,&quot;iso&quot;:&quot;320&quot;,&quot;shutter_speed&quot;:&quot;0.016666666666667&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="blacksmith" data-image-description="" data-medium-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?fit=300%2C136&amp;ssl=1" data-large-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?fit=600%2C272&amp;ssl=1" loading="lazy" width="640" height="290" src="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=640%2C290&#038;ssl=1" alt="" class="wp-image-44100" srcset="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?w=4032&amp;ssl=1 4032w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=300%2C136&amp;ssl=1 300w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=600%2C272&amp;ssl=1 600w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=150%2C68&amp;ssl=1 150w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=768%2C348&amp;ssl=1 768w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=1536%2C695&amp;ssl=1 1536w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=2048%2C927&amp;ssl=1 2048w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=1200%2C543&amp;ssl=1 1200w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?resize=850%2C385&amp;ssl=1 850w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?w=1280&amp;ssl=1 1280w, https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/blacksmith.jpg?w=1920&amp;ssl=1 1920w" sizes="(max-width: 640px) 100vw, 640px" data-recalc-dims="1" /><figcaption>On the left are Rivierre square-shanked nails; on the right are blacksmith-made iron nails.</figcaption></figure></div> <p>For period work prior to the early 19th-century, the only truly appropriate choice is blacksmith-made nails. But they are not cheap&#8230;so I would use those only when I&#8217;m wholly committed to authenticity. For these, make friends with your local blacksmith, and expect to pay anywhere from $1 to $3 per nail.</p> <p>If, like me, your wallet isn&#8217;t quite so well-stocked, consider using Rivierre square-shanked nails. These have the look and shape of blacksmith-made nails but at a far more affordable price. They are available in the U.S. from <a href="https://www.leevalley.com/en-us/shop/hardware/fasteners/nails/74648-diamond-head-forged-nails-from-clouterie-rivierre">Lee Valley Tools</a>. Another option is Tremont <a href="https://www.tremontnail.com/cgi-bin/shop/items?id=hHZnoCAs&amp;mv_arg=16&amp;mv_pc=47">&#8220;wrought head&#8221; nails</a>. These are tapered, cut nails, but the heads look kind of handmade (and they&#8217;re available in a black oxide finish).</p> <div class="wp-block-image"><figure class="aligncenter size-full"><img data-attachment-id="44105" data-permalink="https://blog.lostartpress.com/2021/01/23/period-pieces-nails/forged/" data-orig-file="https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?fit=2543%2C1014&amp;ssl=1" data-orig-size="2543,1014" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;1.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone XS&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1611421802&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.25&quot;,&quot;iso&quot;:&quot;160&quot;,&quot;shutter_speed&quot;:&quot;0.016666666666667&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="forged" data-image-description="" data-medium-file="https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?fit=300%2C120&amp;ssl=1" data-large-file="https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?fit=600%2C239&amp;ssl=1" loading="lazy" width="640" height="255" src="https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=640%2C255&#038;ssl=1" alt="" class="wp-image-44105" srcset="https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?w=2543&amp;ssl=1 2543w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=300%2C120&amp;ssl=1 300w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=600%2C239&amp;ssl=1 600w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=150%2C60&amp;ssl=1 150w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=768%2C306&amp;ssl=1 768w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=1536%2C612&amp;ssl=1 1536w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=2048%2C817&amp;ssl=1 2048w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=1200%2C478&amp;ssl=1 1200w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?resize=850%2C339&amp;ssl=1 850w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?w=1280&amp;ssl=1 1280w, https://i2.wp.com/blog.lostartpress.com/wp-content/uploads/2021/01/forged.jpg?w=1920&amp;ssl=1 1920w" sizes="(max-width: 640px) 100vw, 640px" data-recalc-dims="1" /><figcaption>Tremont &#8220;decorative wrought head&#8221; nails.</figcaption></figure></div> <p></p> <p><em>— Fitz</em></p> Hed Mayner Fall/Winter 2021 https://www.kaltblut-magazine.com/hed-mayner-fall-winter-2021/ KALTBLUT Magazine urn:uuid:a8dc6816-2515-4235-03f9-453dbe4e84f6 Sat, 23 Jan 2021 16:00:25 +0100 <p><strong>Introducing <span id="more-417836"></span><a href="https://www.instagram.com/hedmayner/?hl=es" target="_blank" rel="noopener noreferrer">Hed Mayner</a> and its new F/W2021 collection. This season unpicks the tension between the necessity of isolation </strong>&#8230;</p> Divergent https://www.kaltblut-magazine.com/divergent/ KALTBLUT Magazine urn:uuid:1b4be07d-55b2-d8c1-71cc-62b052a9c8c9 Sat, 23 Jan 2021 11:45:42 +0100 <p><strong>A KALTBLUT exclusive editorial and film. Photography and art direction by Tatiana Minelli. <span class="s2">Concept and Styling by Linda </span></strong>&#8230;</p> LAZOSCHMIDL Fall/Winter 2021 https://www.kaltblut-magazine.com/lazoschmidl-fall-winter-2021/ KALTBLUT Magazine urn:uuid:ccfa6e53-bc94-7314-dac0-80b3746939bc Sat, 23 Jan 2021 10:00:56 +0100 <p><strong>“In our dreams, we stand in front of our childhood closets picking out the pieces we want to </strong>&#8230;</p> Book Review: Urban Sketching: 9 days in Sri Lanka https://www.parkablogs.com/content/book-review-urban-sketching-9-days-sri-lanka Parka Blogs - Art books, art products urn:uuid:be664cb8-763f-8711-7a87-249b9ee26114 Sat, 23 Jan 2021 08:29:08 +0100 <div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><p><a href="https://www.parkablogs.com/content/book-review-urban-sketching-9-days-sri-lanka"><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-01.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 01" /></a></p> <!--break--><div style="float:left; margin:0 1em 1em 0;"> <a href="https://www.amazon.com/gp/product/1983516961?tag=parblo-20"><img border="0" src="https://images-na.ssl-images-amazon.com/images/I/51G-2+GyLnL.jpg" width="160" /></a><br /> <img src="https://www.assoc-amazon.com/e/ir?t=parblo-20&amp;l=as2&amp;o=1&amp;a=1983516961" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important;" /></div> <p><a href="https://www.instagram.com/mikedaikubara/?hl=en">Mike Yoshiaki Daikubara</a> is an industrial design, graphic designer and avid urban sketcher. Whenever he goes on vacation, he would sketch, a lot. He has self published <a href="https://www.parkablogs.com/tags/mike-daikubara">several travelogue sketchbooks</a> over the years and the latest one covers his trip to <a href="https://en.wikipedia.org/wiki/Sri_Lanka">Sri Lanka</a>.</p> <p>This is an A5-sized paperback sketchbook with just 76 pages.</p> <p>All the watercolour sketches were drawn on location, starting from his bus ride to the Boston Logan Airport to all the places visited in Sri Lanka. The scenes captured are accompanied by interesting stories of his interaction with people and what he saw during the trip. He even draws the layout for hotels he stayed in. </p> <p>I enjoy travelogue sketches and Mike does a fantastic job in showing us around, bringing us along the trip. It's really cool to just put out a book like this collecting all the sketches made during the trip. Sketching is a nice way to remember the places and looking back at the sketches will bring back wonderful memories. The places, buildings, scenery drawn look great and definitely puts Sri Lanka on the list of places I have to visit in the future. </p> <p>I bought this book on Amazon for just $15 and it's worth the money. </p> <p><em>Urban Sketching Sri Lanka: Urban Sketching 9 days in Sri Lanka</em> is available at Amazon (<a href="https://www.amazon.com/gp/product/1983516961?tag=parblo-20">US</a> | <a href="https://www.amazon.ca/gp/product/1983516961?tag=parblo0c-20">CA</a> | <a href="https://www.amazon.co.uk/gp/product/1983516961?tag=parblo-21">UK</a> | <a href="https://www.amazon.de/gp/product/1983516961?tag=parblo01-21">DE</a> | <a href="https://www.amazon.fr/gp/product/1983516961?tag=parblo08-21">FR</a> | <a href="https://www.amazon.it/gp/product/1983516961?tag=parblo03-21">IT</a> | <a href="https://www.amazon.es/gp/product/1983516961?tag=parblo02-21">ES</a> | <a href="https://www.amazon.com.au/gp/product/1983516961?tag=parbloau-22">AU</a></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-02.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 02" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-03.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 03" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-04.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 04" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-05.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 05" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-06.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 06" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-07.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 07" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-08.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 08" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-09.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 09" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-10.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 10" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-11.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 11" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/urban-sketching-9-days-sri-lanka-12.jpg" alt="Urban Sketching: Urban Sketching 9 days in Sri Lanka - 12" /></p> <iframe width="500" height="281" src="https://www.youtube.com/embed/qCK4Rc6T-UA" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen=""></iframe><p> Visit Amazon to check out more reviews. </p> <p>The links below are affiliate links, which means I earn some commission from each purchase, but at no extra cost to you.</p> <p><b>Here are direct links to the book:</b><br /> <a href="https://www.amazon.com/gp/product/1983516961?tag=parblo-20">Amazon.com</a> | <a href="https://www.amazon.ca/gp/product/1983516961?tag=parblo0c-20">Amazon.ca</a> | <a href="https://www.amazon.co.uk/gp/product/1983516961?tag=parblo-21">Amazon.co.uk</a> | <a href="https://www.amazon.de/gp/product/1983516961?tag=parblo01-21">Amazon.de</a> | <a href="https://www.amazon.fr/gp/product/1983516961?tag=parblo08-21">Amazon.fr</a> | <a href="https://www.amazon.it/gp/product/1983516961?tag=parblo03-21">Amazon.it</a> | <a href="https://www.amazon.es/gp/product/1983516961?tag=parblo02-21">Amazon.es</a> | <a href="https://www.amazon.com.au/gp/product/1983516961?tag=parbloau-22">Amazon.com.au</a></p> </div></div></div><section class="field field-name-taxonomy-vocabulary-1 field-type-taxonomy-term-reference field-label-above view-mode-fulltext clearfix"> <h2 class="field-label">Tags:&nbsp;</h2> <ul class="field-items"> <li class="field-item even"> <a href="/tags/sri-lanka">sri lanka</a> </li> <li class="field-item odd"> <a href="/category/tags/sketchbooks">sketchbooks</a> </li> <li class="field-item even"> <a href="/category/tags/travelogue">travelogue</a> </li> <li class="field-item odd"> <a href="/category/tags/art-book-reviews">art book reviews</a> </li> <li class="field-item even"> <a href="/tags/mike-daikubara">mike daikubara</a> </li> <li class="field-item odd"> <a href="/tags/urban-sketching">urban sketching</a> </li> <li class="field-item even"> <a href="/tags/self-published-art-books">self published art books</a> </li> </ul> </section> Required Reading https://hyperallergic.com/616502/required-reading-513/ Hyperallergic urn:uuid:818c5ef5-0158-9934-e349-7d2b1a83950a Sat, 23 Jan 2021 06:09:00 +0100 <figure><img width="720" height="481" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?fit=720%2C481&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?w=1558&amp;quality=100&amp;ssl=1 1558w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=720%2C481&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=1200%2C801&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=768%2C513&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=1536%2C1025&amp;quality=100&amp;ssl=1 1536w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=706%2C471&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616657" data-permalink="https://hyperallergic.com/616502/required-reading-513/bernie-pointillism-2-2/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?fit=1558%2C1040&amp;quality=100&amp;ssl=1" data-orig-size="1558,1040" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="bernie-pointillism-2" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?fit=720%2C481&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?fit=780%2C521&amp;quality=100&amp;ssl=1" /></figure>This week, Dennis Cooper, white savior cinema, the maker of Bernie's mittens, a decolonial Qur’an, Ishmael Reed, and more. <figure><img width="720" height="481" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?fit=720%2C481&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?w=1558&amp;quality=100&amp;ssl=1 1558w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=720%2C481&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=1200%2C801&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=768%2C513&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=1536%2C1025&amp;quality=100&amp;ssl=1 1536w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?resize=706%2C471&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616657" data-permalink="https://hyperallergic.com/616502/required-reading-513/bernie-pointillism-2-2/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?fit=1558%2C1040&amp;quality=100&amp;ssl=1" data-orig-size="1558,1040" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="bernie-pointillism-2" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?fit=720%2C481&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/bernie-pointillism-2-1.jpg?fit=780%2C521&amp;quality=100&amp;ssl=1" /></figure> <ul><li>A review of a <a href="http://bostonreview.net/arts-society/david-b-hobbs-return-gay-underground" target="_blank" rel="noreferrer noopener">new biography on Dennis Cooper</a>, an important figure in 20th-century LGBTQ literature, looks at what differentiates him from his peers. Writing for the <em>Boston Review</em>, David H. Hobbs explains:</li></ul> <blockquote class="wp-block-quote"><p>Which is also to say that Cooper’s “Downtowniness” was always a function of distribution and vibe more than geography and assiduous social commitment, and Hester helps to make that clear. While Cooper published “Wrong” in Joel Rose and Catharine Texier’s influential magazine&nbsp;<em>Between C&amp;D</em> — as in, between Avenues C &amp; D on the Lower East Side, but also “between coke &amp; dope,” among other opportune acronyms — and his novels were brought to the UK by Downtown-evangelizing press Serpent’s Tail, he was already an influential poet, editor, and curator before landing in New York in 1983. And even though Cooper held the launch party for his first novella,&nbsp;<em>Safe&nbsp;</em>(1984), at the storied Limelight megaclub in Chelsea, Cooper was disappointed by the increasingly hetero complexion of the New York literary scene and exhausted by its many social obligations. Following a boyfriend, Cooper decamped for Amsterdam a year later.</p><p>More to the point, where many Downtown writers adapted the strategies of San Francisco’s explicitly gay, Marxist New Narrative movement—writing (sometimes fictionalized) diary-narratives about their own and their friends’ lives, explicitly imagining those friends to be their readers, alternating between ecstatic sexuality and detailed observations about other artworks and philosophy—Cooper’s own life and loves never appear in a manner that feels trustworthy, much less as a testament to an embattled community. Put another way, I expect a biography of Eileen Myles to look a lot like Myles’s stories, whereas even readers very familiar with Cooper’s work are likely to be surprised by Hester’s biography.</p></blockquote> <ul><li>Rebecca Pierce takes on &#8220;<a href="https://jewishcurrents.org/white-savior-cinema/" target="_blank" rel="noreferrer noopener">white savior cinema</a>&#8221; and specifically the new (and terrible) Wonder Woman movie in a conversation with filmmaker Lexi Alexander:</li></ul> <blockquote class="wp-block-quote"><p>RP: To date, the only woman to win the Academy Award for Best Director was Kathryn Bigelow for The Hurt Locker, which, along with her film Zero Dark Thirty, was criticized as a pro-military film with Islamophobic tropes. It seems like this may be an avenue for women directors, that opportunities and recognition come with projects that uphold the status quo. </p><p>LA: You can’t go into this business and be the woman who loves to make chick flicks or peace movies. Kathryn Bigelow knew that making movies like the guys is the way in. That was very clear to me when I started my career making a short film about a boxer that was nominated for an Academy Award. Then the next thing I made was an insane movie about hooligans where people just beat the shit out of each other. I had five massive fight scenes in there. Why do people think I did that? I did that to show that I’m the least “woman” you can imagine. I’m so Guy Ritchie, I’m so Quentin Tarantino. I knew that was the only way in. And to this day, I still only get offered stuff in that arena. I love to watch true crime stories, or historical dramas, and I mistakenly thought that once I got in, they’d let me do other stuff. Now, the cop shows hire me. The FBI shows hire me. S.W.A.T. hires me. Sometimes, you just need a paycheck. I think a lot of my Black activist friends look at me sideways, like, “Why are you saying you are against police violence but you make these cop shows?” How can I blame them for saying that? I even made a movie in which I played an Arab woman who fell on the ground after being shot. It was a small moment, but don’t think I wasn’t aware. I was even kind of jokingly praying, “Okay, God, forgive me for this.”</p></blockquote> <ul><li>The <a href="https://slate.com/human-interest/2021/01/bernie-sanders-inauguration-mittens-vermont-teacher-interview.html" target="_blank" rel="noreferrer noopener">Vermont school teacher who knitted the mittens</a> that propelled Senator Bernie Sanders into meme royalty this week spoke to Slate, and she explains:</li></ul> <blockquote class="wp-block-quote"><p><strong>How did you come to give these mittens to Bernie?</strong></p><p>His daughter-in-law owns and operates a preschool down the street from my house, and that’s where we sent our daughter from the time she was 15 months old. I was making gifts for the preschool teachers and I knew Liza was connected to Bernie, so I made an extra pair for him back when he lost the bid for the presidential nomination in 2016 to Hillary Clinton. I was just sad, because even though I like Hillary, I’m also super pro-Bernie and as a public school teacher, I can see every day how families are struggling. People are just trying to make ends meet and they need things like student loan forgiveness and free education and a lot of the things that Bernie is fighting for. I sent him these mittens kind of as a shoutout to who he is, and I put a note in that said something to the effect of “I hope you run again.”</p></blockquote> <ul><li><a href="https://www.vanityfair.com/news/2021/01/donald-trump-refused-to-take-no-from-women-and-then-from-america-itself" target="_blank" rel="noreferrer noopener">E. Jean Carroll&#8217;s article</a>, for <em>Vanity Fair</em>, is a must read about the women who have come forward to accuse Trump of misconduct. It does a great job of deconstructing the common myths around victimhood and notions of &#8220;pure&#8221; victims. You should read the whole thing:</li></ul> <blockquote class="wp-block-quote"><p>And so Jill and Trump have sex. They have sex in New York. They have sex in Florida. But as this is a story about Trump not taking “no,” and as I live in the real world where sexual assault and consensual sex both exist and&nbsp;<em>co</em>exist — sometimes within a single marriage, as was claimed in Ivana Trump’s divorce deposition, which she later repudiates — I will say simply (ha! simply!) that Trump doesn’t take “no” to touching, rubbing, grinding against, or unbuttoning Jill in 1992, 1993, 1994, 1995, 1996, or 1997. In 1998, however, after his 40th or 50th phone call to her, she flies to New York, rides the Trump Tower elevator to the penthouse, rings the bell, and says “yes.”</p></blockquote> <ul><li><a href="https://contendingmodernities.nd.edu/decoloniality/decolonial-approach-quran/" target="_blank" rel="noreferrer noopener">Towards a decolonial approach to the Qur’an</a> by Asad Dandia:</li></ul> <blockquote class="wp-block-quote"><p>If one were to read the Qur’an in translation, the sudden shift from one story, theme, or concept to another with no indication may strike one as odd, but it is precisely this&nbsp;<em>lack</em>&nbsp;of linearity that makes the Qur’anic corpus a subversive site for thinking about the decolonial. While we moderns may expect — or even&nbsp;<em>demand</em> — a text to have a sense of linearity so that it can be comfortably compartmentalized, the Qur’an&nbsp;<em>structurally</em>&nbsp;defies such terms from the very beginning. It consciously&nbsp;<em>refuses</em>compartmentalization, demanding to be taken holistically&nbsp;<em>on its own terms</em>. The organization of the Qur’an is itself a form of&nbsp;liberation.</p><p>The recital of these stories, passed down orally from generation to generation, engages the sensory, cognitive, and bodily senses all at once. They are inseparable, and to view one to the exclusion of others would constitute an act of epistemic violence. It is because of this quality of orality that the Qur’an is memorized by millions of Muslims of all social classes throughout the world, typically starting from a young age. Indeed, both secular and religious scholars alike have marveled at how its prosaic exhortations flow with its poetic virtuosity. One may not know a single word of Arabic and yet listen to a recitation feeling the continuity between its rhythmic verses as if they were exactly where they were meant to be. This is where the text begins to make more sense, for without the&nbsp;<em>embodied&nbsp;</em>recitation of the Arabic verses, engagement with the text can feel frustrating or wanting. One may, however, ask whether it is possible to thus appreciate the Qur’anic text in a language other than the original. Does decolonization necessitate a type of linguistic supremacy or nativism?</p></blockquote> <ul><li>An <a href="https://aaww.org/exit-west-ishmael-reed-rishi-nath/" target="_blank" rel="noreferrer noopener">interview with poet and playwright Ishmael Reed</a> over at Asian American Writers&#8217; Workshop is a must read. There&#8217;s this tidbit:</li></ul> <blockquote class="wp-block-quote"><p><strong>RN:</strong>&nbsp;<strong>After you started to get published in New York, why did you want to leave?</strong></p><p>IR: It’s a cut-throat competition to be a token in New York, and people here aren’t so keen on setting up their own institutions. There are exceptions, like the Nuyorican movement or the AUDELCO awards, which awards achievements in Black Theatre. The New York literary establishment has been imposing tokens in literature, theater, and art on us for a century. They still do it.&nbsp;</p><p><strong>RN:</strong>&nbsp;<strong>Yet New York has so much money floating around. Why don’t more people build institutions?</strong></p><p>IR: In this town, it’s all about individual achievements. I wrote a piece about racism in New York museums in&nbsp;<em>Arts Magazine</em>. And there was outrage from black painters. They didn’t want me to expose racism in the New York art world because they felt that one of them might get their stuff exhibited. It’s like when Lena Horne went to Hollywood to protest the stereotypical roles being given black actors. The black actors making money for those roles ran her out.</p></blockquote> <ul><li>A <a href="https://www.nytimes.com/interactive/2021/01/19/upshot/trump-complete-insult-list.html" target="_blank" rel="noreferrer noopener">complete list of Trump&#8217;s Twitter insults by subject</a>.</li><li><a href="https://www.972mag.com/israeli-flag-white-nationalism-symbol/" target="_blank" rel="noreferrer noopener">Why are Israeli flags showing up at White Nationalist rallies?</a> Writing for +972, Ben Lorger explains:</li></ul> <blockquote class="wp-block-quote"><p>It is well-known that Israel enjoys&nbsp;firm support&nbsp;not only on the U.S. right but across the mainstream political spectrum,&nbsp;due&nbsp;to strategic geopolitical interests, the profit motives of the military-industrial complex, and other factors. “[Israel] is the best $3 billion investment we make,”&nbsp;remarked&nbsp;then-Senator Joe Biden in 1986, explaining that “if there weren’t an Israel, the United States of America would have to invent an Israel to protect her interests in the region.” The “special relationship” between the United States and Israel is championed by leaders of both countries, alongside odes to supposed shared “Judeo-Christian” values of pioneer-settler exceptionalism, liberty and democracy.</p><p>For the ascendant forces of right-wing populism in the United States and around the world, however, support for Israel takes on a special intensity. Israel is&nbsp;celebrated&nbsp;as a front-line defender of Western civilization in its crusade against radical Islam. It is&nbsp;viewed&nbsp;as a nation that embodies the strong arm of xenophobic nationalism and militarized masculinity, unapologetically pushing back invading ethno-religious Others, expanding its territory, and protecting its heritage in bold defiance of a chorus of liberal outcry. The Israeli and U.S. right share “a desire,” as Palestinian writer Nada Elia&nbsp;put it, “to establish and maintain a homogeneous society that posits itself as superior, more advanced, more civilized than the ‘others’ who are, unfortunately, within its midst, a ‘demographic threat’ to be contained through border walls and stricter immigration law.”</p></blockquote> <ul><li>While most people noticed the oversized family Bible used by President Biden during his swearing in, it&#8217;s worth noticing the <a href="https://theconversation.com/sen-ossoff-was-sworn-in-on-pioneering-atlanta-rabbis-bible-a-nod-to-historic-role-of-american-jews-in-civil-rights-struggle-153757" target="_blank" rel="noreferrer noopener">Hebrew Bible Senator Jon Ossoff used for his own swearing</a> in the same day. It has an incredible civil rights history (h/t Sarah Bond):</li></ul> <blockquote class="wp-block-quote"><p>The book itself belonged to&nbsp;Rabbi Jacob M. Rothschild, who served from 1946 until his death in 1973 as the rabbi of Atlanta’s oldest and most prominent Reform congregation, Hebrew Benevolent Congregation, known as “The Temple.”&nbsp;</p><p>As an outspoken proponent of civil rights, he supported school desegregation; invited Black clergy like&nbsp;Benjamin E. Mays, president of Morehouse College, to speak to his congregants; and&nbsp;wrote&nbsp;that Jews bore a special responsibility “to erase inequality.”&nbsp;</p><p>To punish Rothschild and as a warning to others, white supremacist members of The Confederate Underground, a collective name for various right-wing extremist organizations in the 1950s, on Oct. 12, 1958, bombed The Temple,&nbsp;in a blast that was reportedly felt for miles around.</p></blockquote> <ul><li><a href="https://www.espn.com/mlb/story/_/id/30759337/hank-aaron-lasting-impact-measured-more-home-runs" target="_blank" rel="noreferrer noopener">Hank Aaron died and this obituary</a> explains some of his influence beyond sports:</li></ul> <blockquote class="wp-block-quote"><p>For years, Aaron had received thousands of letters, many of them racist, and many of which contained death threats against him and his family. The image of him rounding second base escorted by two jubilant white fans who had leaped onto the field became one of the most iconic in sports. Less known was that, as Aaron rounded the bases, his bodyguard, Calvin Wardlaw, sat in the stands, his hand secretly on his revolver, deciding in an instant whether the two young fans were hostile in their intent and whether he would shoot them.</p><p>Over the years, Aaron would be praised for his quiet resolve and dignity in the face of the threats. He would dine with international heads of state and every sitting president from Gerald Ford to Barack Obama, but the negative response from so many of his countrymen was a scar he would carry for the rest of his life.</p></blockquote> <ul><li>I bet <a href="https://www.youtube.com/watch?v=tz8MHG-IIYM&amp;t=3s" target="_blank" rel="noreferrer noopener">Chimamanda Ngzoi Adichie is right</a>:</li></ul> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="jetpack-video-wrapper"><iframe class='youtube-player' width='780' height='439' src='https://www.youtube.com/embed/tz8MHG-IIYM?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;start=3&#038;wmode=transparent' allowfullscreen='true' style='border:0;' sandbox='allow-scripts allow-same-origin allow-popups allow-presentation'></iframe></div> </div></figure> <ul><li><em><a href="https://www.youtube.com/watch?v=JnGMYl-njsg">Capitol Insurrection: The Musical</a></em>:</li></ul> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="jetpack-video-wrapper"><iframe class='youtube-player' width='780' height='439' src='https://www.youtube.com/embed/JnGMYl-njsg?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent' allowfullscreen='true' style='border:0;' sandbox='allow-scripts allow-same-origin allow-popups allow-presentation'></iframe></div> </div></figure> <p><em><a rel="noreferrer noopener" href="https://hyperallergic.com/tag/required-reading/" target="_blank">Required Reading</a>&nbsp;is published every Saturday, and it is comprised of a short list of art-related links to long-form articles, videos, blog posts, or photo essays worth a second look.</em></p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=KIlzEG4rpi4:kQamRLPR0nA:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=KIlzEG4rpi4:kQamRLPR0nA:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=KIlzEG4rpi4:kQamRLPR0nA:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=KIlzEG4rpi4:kQamRLPR0nA:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/KIlzEG4rpi4" height="1" width="1" alt=""/> What a Painter Taught Me https://hyperallergic.com/615541/francesco-polenghi-death-in-milan/ Hyperallergic urn:uuid:762b409b-6ce3-220e-03f3-637b846243e1 Sat, 23 Jan 2021 06:05:00 +0100 <figure><img width="720" height="721" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?fit=720%2C721&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=720%2C721&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=768%2C769&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=800%2C800&amp;quality=100&amp;ssl=1 800w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=400%2C400&amp;quality=100&amp;ssl=1 400w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=200%2C200&amp;quality=100&amp;ssl=1 200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=300%2C300&amp;quality=100&amp;ssl=1 300w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=706%2C707&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=100%2C100&amp;quality=100&amp;ssl=1 100w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615594" data-permalink="https://hyperallergic.com/thumbnail-63/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?fit=1200%2C1202&amp;quality=100&amp;ssl=1" data-orig-size="1200,1202" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="thumbnail" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?fit=720%2C721&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?fit=780%2C781&amp;quality=100&amp;ssl=1" /></figure>Coming from a secular perspective, it seems strange to speak, in almost mystical terms, of being taken out of oneself. <figure><img width="720" height="721" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?fit=720%2C721&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=720%2C721&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=768%2C769&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=800%2C800&amp;quality=100&amp;ssl=1 800w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=400%2C400&amp;quality=100&amp;ssl=1 400w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=200%2C200&amp;quality=100&amp;ssl=1 200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=300%2C300&amp;quality=100&amp;ssl=1 300w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=706%2C707&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?resize=100%2C100&amp;quality=100&amp;ssl=1 100w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615594" data-permalink="https://hyperallergic.com/thumbnail-63/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?fit=1200%2C1202&amp;quality=100&amp;ssl=1" data-orig-size="1200,1202" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="thumbnail" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?fit=720%2C721&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail.jpeg?fit=780%2C781&amp;quality=100&amp;ssl=1" /></figure> <p>In 2011 I was invited by Demetrio Paparoni, my former editor at the Italian art journal <em>tema celeste</em>, to write a catalogue essay about Francesco Polenghi, an artist whom I had never met (<em>Francesco Polenghi</em>, Skira, 2011).</p> <p>Polenghi lived in Milan. Such assignments, which provide a welcome opportunity for travel, are always demanding. They entail entering an unfamiliar studio, looking at the artwork, listening to the artist discuss it, taking mental notes, and then writing about the art. Often it’s revealing to see what is on display: books, reproductions of Old Master or other artworks.&nbsp;</p> <p>It is the critic’s job to contextualize the works, to define their place in art history and identify their distinctive values. Writing about well-known artists or artworks brings clichés to mind too easily. Responding to artists who haven’t been written about much is&nbsp;a marvelous challenge, for sometimes it demands rethinking the fundamentals of art criticism.</p> <p>The art critic is always split between a critical self, who watches and often censors&nbsp;reactions, and a&nbsp; receptive self, whose response to the art is unhampered by intellectual reflection. That double awareness is essential, for it opens up a space that makes&nbsp;dispassionate aesthetic discourse possible.</p> <figure class="wp-block-image size-large"><img data-attachment-id="615593" data-permalink="https://hyperallergic.com/thumbnail-3-23/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?fit=1200%2C1212&amp;quality=100&amp;ssl=1" data-orig-size="1200,1212" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="thumbnail-3" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?fit=720%2C727&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?fit=780%2C788&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="788" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?resize=780%2C788&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615593" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?resize=720%2C727&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?resize=768%2C776&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?resize=706%2C713&amp;quality=100&amp;ssl=1 706w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-3.jpeg?resize=100%2C100&amp;quality=100&amp;ssl=1 100w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Francesco Polenghi, &#8220;K 33&#8221; (2006), oil on canvas, 100 by 100 cm</figcaption></figure> <p>I cannot recall in detail what Polenghi said to me. Not a lot, I think. We didn’t look at a large number of paintings. He explained his working procedures, told me how living in&nbsp;India from 1981 to ’88 had inspired him, and showed me some recent paintings.&nbsp;I remember seeing a large photograph of his&nbsp;Buddhism&nbsp;guru in India. We went out for lunch and then came back to the studio. By this time I had realized that he was a truly wonderful painter, and I was happy to have the opportunity to write about him. I felt&nbsp;at ease among his paintings, but wasn’t yet sure what I could say about them.&nbsp;</p> <p>Then, near the end of&nbsp; my visit, to my total surprise, my critical self relaxed.&nbsp;I felt&nbsp;taken out of myself and&nbsp;totally at peace, as if all of&nbsp;my critical faculties had ceased to function. I felt exalted. Or should I say, Polenghi’s art made me feel exalted.&nbsp;</p> <p>I was unsure how to describe this experience. Immediately after that moment passed, I&nbsp;became embarrassed,&nbsp;skeptical of my own feelings. What do you do when your own mind acts in an unexpected way? I was tempted to dismissively chalk up this response to being jet-lagged. Coming from a secular perspective, it&nbsp;seems strange to speak, in&nbsp;almost mystical terms, of being taken out of oneself.&nbsp;</p> <p>Polenghi gave me a copy of Eckhart Tolle’s Buddhism-inspired self-improvement book, <em>A New Earth: Awakening to Your Life’s Purpose</em> (Penguin: London, 2005). Suspicious as my critical self was, one passage spoke to me:</p> <blockquote class="wp-block-quote"><p>Only the first awakening, the first glimpse of consciousness without thought, happens by grace, without any doing on your part. If you find this book incomprehensible or meaningless, it has not yet happened to you. If something within you responds to it, however, if you somehow recognize the truth in it, it means the process of awakening has begun.</p></blockquote> <figure class="wp-block-image size-large"><img data-attachment-id="615592" data-permalink="https://hyperallergic.com/thumbnail-2-23/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?fit=1200%2C1207&amp;quality=100&amp;ssl=1" data-orig-size="1200,1207" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="thumbnail-2" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?fit=720%2C724&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?fit=780%2C785&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="785" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?resize=780%2C785&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615592" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?resize=720%2C724&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?resize=768%2C772&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?resize=200%2C200&amp;quality=100&amp;ssl=1 200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?resize=706%2C710&amp;quality=100&amp;ssl=1 706w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-2.jpeg?resize=100%2C100&amp;quality=100&amp;ssl=1 100w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Francesco Polenghi, &#8220;K 60&#8221; (2005), oil on canvas, 156 x 156 cm</figcaption></figure> <p>In the 1960s, Polenghi, who was born in Milan, Italy, in 1936, studied at New York University,&nbsp; where he earned an&nbsp;economics degree.&nbsp;He became a full-time abstract painter in the 1980s, after living in India for seven years. The works I saw that day in his studio were composed of large fields of marks that range, as Barry Schwabsky says in his eloquent essay in the same catalogue:&nbsp;</p> <blockquote class="wp-block-quote"><p>[…] from single linear signs, ever so slightly curved, yet really nearly as straight as the hand unsteadied by a ruler could make them, to whirls and eddies of the most intricate sort, some of which call to mind Leonardo da Vinci&#8217;s drawings of deluges — not a far-fetched reference point for a Milanese artist, after all.</p></blockquote> <p>They may be painted in maroon, dark purple, black, red, or another color, applied on a white ground. In the catalogue there’s a photograph of Polenghi at work. I never witnessed him painting, but I imagine that&nbsp;making the innumerable clusters, loops, and whorls would make it into a slow-moving&nbsp;process. &nbsp;</p> <p>Long before I met Polenghi, I had an unforgettable encounter with a great Buddhist painting,&nbsp; “Parinirvana of Sakyamuni,” a late-17th-century work by the Japanese artist and poet Hanabusa Itchō, at the Minneapolis Museum of Art. It shows the death of Sakyamuni, the historical Buddha. Having delivered his final teachings, surrounded by his followers, he’s about to enter nirvana. The elephant, the rabbit, even the snake grieve the loss of this great teacher. Clearly “Parinirvana of Sakyamuni” depicts a sacred spiritual scene.</p> <figure class="wp-block-image size-large"><img data-attachment-id="615591" data-permalink="https://hyperallergic.com/thumbnail-1-32/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1.jpeg?fit=1200%2C1224&amp;quality=100&amp;ssl=1" data-orig-size="1200,1224" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="thumbnail-1" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1.jpeg?fit=720%2C734&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1.jpeg?fit=780%2C796&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="796" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1.jpeg?resize=780%2C796&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615591" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1.jpeg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1.jpeg?resize=720%2C734&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1.jpeg?resize=768%2C783&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1.jpeg?resize=706%2C720&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Francesco Polenghi, &#8220;K 54” (2009), oil on canvas, 70 x 70 cm</figcaption></figure> <p>Polenghi’s Buddhist studies in India inspired him to make very different paintings. The argument that abstract painting can have spiritual or religious significance has often been made. Yet the work of such diverse artists as Hilma af Klint, Piet Mondrian, and Mark Rothko still fits comfortably into a secular modernist paradigm. The catalogue essays by Schwabsky,&nbsp;as well as one by Paparoni,&nbsp; indicate that the same is true of Polenghi’s marvelous works. However much he was inspired by his study of Buddhist rituals, his paintings belong to an essentially secular, Euro-American modernist tradition of abstract painting.&nbsp;</p> <p>What at present strikes my critical self, looking at reproductions of Polenghi’s paintings in the catalogue, is the enormous gap between my analysis of the works in my essay and my powerful response to them in his studio. It’s easy to understand&nbsp; how “Parinirvana of Sakyamuni” inspires powerful feelings about mortality,&nbsp;given its subject. But&nbsp;what was&nbsp;it about Polenghi’s large fields of swirling marks that caused my intense reaction? I still cannot answer that question.&nbsp;</p> <p>I thought about this studio visit a few days ago when, to my immense sorrow, I learned of Polenghi’s death from the coronavirus.&nbsp;I realized that he gave me a great gift, which I still retain. He taught me the importance of the&nbsp;receptive self. Any art writer needs a critical self. But without&nbsp; also cultivating a receptive self, it’s impossible to&nbsp;understand why visual art matters.</p> <p>I’m&nbsp; a slow learner — with a lot still to learn.&nbsp;</p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=v7AFQdXJqBA:8ceau4aFuKM:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=v7AFQdXJqBA:8ceau4aFuKM:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=v7AFQdXJqBA:8ceau4aFuKM:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=v7AFQdXJqBA:8ceau4aFuKM:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/v7AFQdXJqBA" height="1" width="1" alt=""/> Martin Puryear’s Open Questions https://hyperallergic.com/615939/martin-puryear-open-questions-matthew-marks-gallery/ Hyperallergic urn:uuid:eba236d5-d7e6-8de2-14bd-b02291eabbeb Sat, 23 Jan 2021 06:04:00 +0100 <figure><img width="720" height="480" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Martin-Puryear_Matthew-Marks-Gallery_2020_Installation_01-e1611166355745.jpg?fit=720%2C480&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616035" data-permalink="https://hyperallergic.com/martin-puryear_matthew-marks-gallery_2020_installation_01/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Martin-Puryear_Matthew-Marks-Gallery_2020_Installation_01-e1611166355745.jpg?fit=1460%2C973&amp;quality=100&amp;ssl=1" data-orig-size="1460,973" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;22&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark III&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1604572639&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;41&quot;,&quot;iso&quot;:&quot;160&quot;,&quot;shutter_speed&quot;:&quot;3.2&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Martin Puryear_Matthew Marks Gallery_2020_Installation_01" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Martin-Puryear_Matthew-Marks-Gallery_2020_Installation_01-e1611166355745.jpg?fit=720%2C480&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Martin-Puryear_Matthew-Marks-Gallery_2020_Installation_01-e1611166355745.jpg?fit=780%2C520&amp;quality=100&amp;ssl=1" /></figure>To focus on Puryear’s devotion to craft and the handmade is valid, but now seems too narrow a view. <figure><img width="720" height="480" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Martin-Puryear_Matthew-Marks-Gallery_2020_Installation_01-e1611166355745.jpg?fit=720%2C480&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616035" data-permalink="https://hyperallergic.com/martin-puryear_matthew-marks-gallery_2020_installation_01/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Martin-Puryear_Matthew-Marks-Gallery_2020_Installation_01-e1611166355745.jpg?fit=1460%2C973&amp;quality=100&amp;ssl=1" data-orig-size="1460,973" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;22&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark III&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1604572639&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;41&quot;,&quot;iso&quot;:&quot;160&quot;,&quot;shutter_speed&quot;:&quot;3.2&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Martin Puryear_Matthew Marks Gallery_2020_Installation_01" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Martin-Puryear_Matthew-Marks-Gallery_2020_Installation_01-e1611166355745.jpg?fit=720%2C480&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Martin-Puryear_Matthew-Marks-Gallery_2020_Installation_01-e1611166355745.jpg?fit=780%2C520&amp;quality=100&amp;ssl=1" /></figure> <p>According to the checklist for <em><a href="https://matthewmarks.com/exhibitions/martin-puryear">Martin Puryear</a> </em>at Matthew Marks (November 12, 2020 &#8211; January 30, 2021) there are six sculptures in the exhibition. However, “A Column for Sally Hemings” (2019) — which was in Puryear’s solo exhibition at the United States pavilion in the 2019 Venice Biennial and was illustrated in a recent <em>New York Times</em> review (January 6, 2021) — was removed and replaced by a sculpture that is not listed, and whose title I have been unable to learn.&nbsp;</p> <p>The removal of&nbsp; “A Column for Sally Hemings” should be noted in an updated announcement for those who are looking forward to seeing it. This issue was compounded by the fact that there are no signs at the entrance of the two smaller back galleries, limiting the number of people allowed to be in the space at one time. Twice, it was necessary to leave the space because of the large group that walked in.</p> <p>Despite these unsettling conditions, I came away from the exhibition with a deeper respect for Puryear.</p> <p>A lot has been made of the fact that Puryear studied in the Yale MFA program in the late 1960s, at the height of Minimalism, and that his studio classes were taught by Robert Morris and Richard Serra, who is only three years older than him. In 1984, this is what he said about that experience:&nbsp;</p> <blockquote class="wp-block-quote"><p>I never did minimalist art. I got real close. I looked at it, I tasted it, and I spat it out. I said, this is not for me. I’m a worker. I’m not somebody who’s happy to let my work be made for me and I’ll pass on it, yes or no, after it’s done. I could never do that.</p></blockquote> <p>Reflecting on this statement, many writers have focused on Puryear’s devotion to craft and the handmade, his evident love of working with wood, and have connected him with Constantin Brancusi. All of this is valid, but it now seems to me too narrow a view of the artist, particularly in its emphasis on process and materials.</p> <p>What I think Puryear spat out is Minimalism’s insistent removal of all forms of self-expression, the championing of pure abstract forms, which seems to require the denial of race and history. What he also spat out was the ideal of essentialism in both art and life. In this he parted from the Minimalists and artists who emphasized an essentialist identity.&nbsp;</p> <figure class="wp-block-image size-large"><img data-attachment-id="616038" data-permalink="https://hyperallergic.com/puryear_tabernacle_2019_matthew-marks-gallery/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_Tabernacle_2019_Matthew-Marks-Gallery-e1611166323129.jpg?fit=1460%2C1168&amp;quality=100&amp;ssl=1" data-orig-size="1460,1168" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;14&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;IQ4 150MP&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1551900282&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;80&quot;,&quot;iso&quot;:&quot;64&quot;,&quot;shutter_speed&quot;:&quot;0.016666666666667&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Puryear_Tabernacle_2019_Matthew Marks Gallery" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_Tabernacle_2019_Matthew-Marks-Gallery-e1611166323129.jpg?fit=720%2C576&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_Tabernacle_2019_Matthew-Marks-Gallery-e1611166323129.jpg?fit=780%2C624&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="624" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_Tabernacle_2019_Matthew-Marks-Gallery.jpg?resize=780%2C624&#038;quality=100&#038;ssl=1" alt="" class="wp-image-616038" data-recalc-dims="1"/><figcaption>Martin Puryear, &#8220;Tabernacle&#8221; (2019), steel, red cedar, American cypress, pine, makore veneer, canvas, printed cotton fabric, glass, stainless steel, 74 x 90 x 96 inches (© Martin Puryear, Courtesy Matthew Marks Gallery)</figcaption></figure> <p>There is a complexity to Puryear’s work that brings together a wide range of possibilities: a respect for craft as an expressive form; a love of, as well as a deep interest in, history, particularly as represented by individuals and groups who embodied the ideals of freedom and persistence; a curiosity about how certain forms are embedded with a history that can be passed from one individual or generation to the next; the realization that no matter how much can be seen, something more remains hidden to us. In the last case, this means that, both literally and metaphorically, we cannot see everything there is to see. This realization denies the artist of an omnipotent viewpoint. Finally, he understands that no narrative is completely inclusive.&nbsp;</p> <p>By bringing these possibilities together, Puryear has attained something unlikely and, more importantly, unique. He became an innovative sculptor whose subject is history — not the official one told by institutions, but one that is hidden, overlooked, or ignored. And in his engagement with history, Puryear recognized an irresolvable tension:&nbsp;</p> <blockquote class="wp-block-quote"><p>I would describe my usual working process as a kind of distillation — trying to make coherence out of things that can seem contradictory. But coherence is not the same as resolution. The most interesting art for me retains a flickering quality, where opposed ideas can be held in a tense coexistence.</p></blockquote> <p>I think Puryear’s work is animated by his recognition of the paradoxes of history. As a result, he bypasses the idea of winners and losers, and focuses on the communities and individuals struggling to gain a verifiable measure of freedom.&nbsp;</p> <p>In his sculpture, Puryear honors their resistance to oppression by focusing on objects, not as mementoes, but as evidence of the conflict. His preoccupation with history dates back to “Some Lines for Jim Beckwourth”&nbsp;(1978) and “For Beckwourth” (1980), both made before the artist turned 30. In honoring Beckwourth (1798-1866), who was bi-racial and born into slavery, was freed by his father (also his master), and later became a renowned explorer and fur trader living in the Crow Nation, Puryear rejected essentialism in favor of a more nuanced, complicated, and contradictory view of Beckwourth and, later, of other histories and individuals.&nbsp;</p> <p>In memorializing transience, migration, and flight — and in examining the palpable signs of struggle and persistence rather than celebrating victory — Puryear defines an artistic path that is different from the ones forged by his peers and predecessors.&nbsp;</p> <figure class="wp-block-image size-large"><img data-attachment-id="616037" data-permalink="https://hyperallergic.com/puryear_new-voortrekker_2018_matthew-marks-gallery/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_New-Voortrekker_2018_Matthew-Marks-Gallery-e1611166312931.jpg?fit=1460%2C1077&amp;quality=100&amp;ssl=1" data-orig-size="1460,1077" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;22&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark III&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1604574232&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;27&quot;,&quot;iso&quot;:&quot;160&quot;,&quot;shutter_speed&quot;:&quot;4&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Puryear_New Voortrekker_2018_Matthew Marks Gallery" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_New-Voortrekker_2018_Matthew-Marks-Gallery-e1611166312931.jpg?fit=720%2C531&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_New-Voortrekker_2018_Matthew-Marks-Gallery-e1611166312931.jpg?fit=780%2C575&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="575" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_New-Voortrekker_2018_Matthew-Marks-Gallery.jpg?resize=780%2C575&#038;quality=100&#038;ssl=1" alt="" class="wp-image-616037" data-recalc-dims="1"/><figcaption>Martin Puryear, &#8220;New Voortrekker&#8221; (2018), ash, American cypress, maple, mirror, 72 x 93 x 22 inches (© Martin Puryear, Courtesy Matthew Marks Gallery)</figcaption></figure> <p>This helps explain why he has never developed a signature style or form, and why he has never become a manufacturer of stylish objects. Rather, what the viewer experiences is Puryear’s shaping of a sanctified space or object, which can contain other objects that are partially visible but physically inaccessible.&nbsp;</p> <p>For “New Voortrekker” (ash, American cypress, maple, mirror, 72 x 93 x 22 inches, 2018), his sculpture of a covered two-wheel cart pulled by a toy-like wooden car, I learned about the Boer migration from the British Cape Colony after 1834 and the establishment of the Orange Free State and the South African Republic, countries whose capitalist economy was founded on slavery and forced labor.</p> <p>The title “Aso Oke” (bronze, 84 x 102 x 74 1/2 inches, 2019) led me to learn something about a traditional Yoruban fabric.&nbsp;</p> <p>“Tabernacle” (steel, red cedar, American cypress, pine, makore veneer, canvas, printed cotton fabric, glass, stainless steel, 74 x 90 x 96 inches, 2019) brought to mind the slouch hats worn by soldiers during the Civil War. I double-checked to see if Puryear intended a connection. According to the gallery press release, he did.</p> <p>Puryear’s precise references compelled me to look up all of these.</p> <p>What these engagements did was pull me back to the exhibition, to reflect upon what Puryear was pursuing in his works, each of which is highly specific in its process, materials, and outcome.&nbsp;</p> <p>“New Voortrekker” is not a retrospective look at a disgraceful chapter in the history of Europeans in Africa, but a consideration of who the new colonizers and would-be slave owners might be.&nbsp;</p> <p>The toy-like car evokes multiple readings, including the use of toys to shape children’s worldviews.&nbsp; The automobile was not invented when the original Voortrekkers set out in the horse-drawn carts and wagons, but in this work, past and present, history and object, have been yoked together on a board that rises up from a three-legged, sawhorse-like pedestal, with the far end balanced on a wooden ball. This combination suggests determination and precariousness.&nbsp;</p> <p>What are we to make of the stairs rising and turning inside the cart or the mirror facing the second flight of the stairs?&nbsp;</p> <p>When we look at Puryear’s work we are often invited to look into them. What is inside is at times only partially visible, and we are left to surmise upon what remains unseen.&nbsp;</p> <figure class="wp-block-image size-large"><img data-attachment-id="616036" data-permalink="https://hyperallergic.com/puryear_aso-oke_2019_matthew-marks-gallery/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_Aso-Oke_2019_Matthew-Marks-Gallery-e1611166340682.jpg?fit=1460%2C973&amp;quality=100&amp;ssl=1" data-orig-size="1460,973" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;22&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark III&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1603805562&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;50&quot;,&quot;iso&quot;:&quot;160&quot;,&quot;shutter_speed&quot;:&quot;1.3&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Puryear_Aso Oke_2019_Matthew Marks Gallery" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_Aso-Oke_2019_Matthew-Marks-Gallery-e1611166340682.jpg?fit=720%2C480&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_Aso-Oke_2019_Matthew-Marks-Gallery-e1611166340682.jpg?fit=780%2C520&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="520" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Puryear_Aso-Oke_2019_Matthew-Marks-Gallery.jpg?resize=780%2C520&#038;quality=100&#038;ssl=1" alt="" class="wp-image-616036" data-recalc-dims="1"/><figcaption>Martin Puryear, &#8220;Aso Oke&#8221; (2019), bronze, 84 x 102 x 74 1/2 inches (© Martin Puryear, Courtesy Matthew Marks Gallery)</figcaption></figure> <p>If the link between title and object seems fairly direct in “New Voortrekker,” that is not the case with “Tabernacle.” A tabernacle is a fixed or movable habitation that can be used for worshipful gatherings. What is the connection to a sculpture based on a cap worn by white and Black soldiers during the Civil War?&nbsp;</p> <p>What are we to make of the siege mortar that we glimpse when we look into the opening that Puryear has made in this work? What about the floral fabric and black canvas? What does it mean that the cannonball-like sphere it holds is mirrored? Each view provides a partial view, but never reveals the entirety of what the space contains. Isn’t that part of the work’s meaning?&nbsp;</p> <p>“Tabernacle” is immediate and oblique, open and secretive, a combination of dissimilar materials: steel, printed fabric, wood, and mirror. &nbsp;</p> <p>In the three works that I have cited Puryear looks at colonialist expansion (change), traditional textiles (continuity), and war (disruption). There are neither heroes nor villains. His references to weaving and his use of textiles erode the barrier between women’s labor and the traditionally male labor of sculpture. The longer we look at — which is to say, reflect upon — his work, the more is revealed and suggested. After spitting out Minimalism, its emphasis on essential forms, Puryear embraced complexity. That embrace has generated a singular and diverse oeuvre that, piece by piece, offers the viewer much to meditate on.&nbsp;</p> <p>Instead of continuing well-known tropes about the Civil War or European colonialism, as if they were discrete chapters that exist in a closed book, Puryear invites viewers to reexamine whatever conclusions they might have reached, to reopen the past so as to better understand the present.&nbsp; He makes work for individuals who are not interested in being entertained, distracted, or given simple answers.&nbsp;</p> <p><a href="https://matthewmarks.com/exhibitions/martin-puryear">Martin Puryear</a> <em>continues at Matthew Marks Gallery (522 West 22nd Street, Chelsea, Manhattan) through January 30. The exhibition is viewable on-site by appointment and online.</em></p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=15kEq_GMFEc:6Q4BQcCzyeY:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=15kEq_GMFEc:6Q4BQcCzyeY:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=15kEq_GMFEc:6Q4BQcCzyeY:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=15kEq_GMFEc:6Q4BQcCzyeY:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/15kEq_GMFEc" height="1" width="1" alt=""/> The Melancholy Marriage of Tracey Emin and Edvard Munch https://hyperallergic.com/615601/tracey-emin-edvard-munch-royal-academy-of-arts/ Hyperallergic urn:uuid:32c7d66b-8359-1cfc-92eb-83f1740fc910 Sat, 23 Jan 2021 06:03:00 +0100 <figure><img width="720" height="744" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?fit=720%2C744&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?w=1460&amp;quality=100&amp;ssl=1 1460w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?resize=720%2C744&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?resize=1200%2C1239&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?resize=768%2C793&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?resize=706%2C729&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615958" data-permalink="https://hyperallergic.com/the-death-of-marat/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?fit=1460%2C1508&amp;quality=100&amp;ssl=1" data-orig-size="1460,1508" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Edvard Munch&quot;,&quot;camera&quot;:&quot;IQ4 100MP Trichromatic&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1578657624&quot;,&quot;copyright&quot;:&quot;CC BY 4 The Munch Museum&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;35&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;The Death of Marat&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="The Death of Marat" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?fit=720%2C744&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?fit=780%2C805&amp;quality=100&amp;ssl=1" /></figure>What do Emin and Munch have in common other than a burning desire to embrace, and be defined by, the miseries of life? <figure><img width="720" height="744" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?fit=720%2C744&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?w=1460&amp;quality=100&amp;ssl=1 1460w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?resize=720%2C744&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?resize=1200%2C1239&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?resize=768%2C793&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?resize=706%2C729&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615958" data-permalink="https://hyperallergic.com/the-death-of-marat/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?fit=1460%2C1508&amp;quality=100&amp;ssl=1" data-orig-size="1460,1508" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Edvard Munch&quot;,&quot;camera&quot;:&quot;IQ4 100MP Trichromatic&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1578657624&quot;,&quot;copyright&quot;:&quot;CC BY 4 The Munch Museum&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;35&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;The Death of Marat&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="The Death of Marat" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?fit=720%2C744&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-1.jpg?fit=780%2C805&amp;quality=100&amp;ssl=1" /></figure> <p>LONDON — Edvard Munch and Tracey Emin — what a gloom-struck pair! We see them together, in two photographs hung side by side on the wall, as we enter the exhibition at the Royal Academy.&nbsp;</p> <p>They look uncannily of a pair, help-mates perhaps, fellow sufferers certainly, almost drowning in their dark, almost sepia withdrawnness from the world. He is long dead. She has been gravely ill recently. And yet, such has been the deft manipulation of these images, that they could almost, we feel, have been alive together in the nowness of our present. As spirit-cousins perhaps. Or lovers?</p> <p>The title of the exhibition is <em><a href="https://www.royalacademy.org.uk/exhibition/tracey-emin-edvard-munch">The Loneliness of the Soul</a></em>. Oh woe!</p> <p>Emin&#8217;s art is, and always has been, one of lacerating self-exposure. She mines her own misery and misfortunes. Abortion; abuse; failed relationships; a failing body. All grist to the mill. She puts herself out to be seen: pitied, perhaps, or perhaps as a figure of empathy who takes on all our sins. She abandons herself to the onlooker. At times she is the child who incessantly demands attention, craving our sympathy and collusion in how she represents herself. Sometimes she does this well — the best of her work at the Venice Biennale in 2007 was a triumph of fractured self-portraiture — and sometimes she falls flat into mawkishness or banality. Her text works have often struck me as wincingly awful.&nbsp;</p> <figure class="wp-block-image size-large"><img data-attachment-id="615961" data-permalink="https://hyperallergic.com/emin-81/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?fit=1460%2C973&amp;quality=100&amp;ssl=1" data-orig-size="1460,973" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;4&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark IV&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1604666282&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;26&quot;,&quot;iso&quot;:&quot;2500&quot;,&quot;shutter_speed&quot;:&quot;0.0125&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="EMIN-81" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?fit=720%2C480&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?fit=780%2C520&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="520" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?resize=780%2C520&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615961" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?resize=1200%2C800&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?resize=720%2C480&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?resize=768%2C512&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?resize=706%2C471&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-81.jpg?w=1460&amp;quality=100&amp;ssl=1 1460w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Gallery view of <em>Tracey Emin/Edvard Munch: The Loneliness of the Soul</em>, from 7 December 2020 until 28 February 2021, at the Royal Academy of Arts, London (© Tracey Emin. All rights reserved, DACS 2020. Photo: © David Parry. Exhibition organized by MUNCH, Oslo, Norway, in partnership with the Royal Academy of Arts)</figcaption></figure> <p>The initial work to confront us as we enter the first of three dimly lit, barrel-vaulted galleries (a touch religiose in their mood perhaps) — and it <em>is</em> a confrontation because Emin&#8217;s large painting blocks the path ahead rather as a beefy bouncer outside a nightclub might, and demands that we veer right or left to pass it — exposes her, spread-legged, all privacy no longer private. The work was made in 2007 and Elton John owns it. The strokes of paint are thready and fragmentary. They peter out before they are quite complete. Its title is “Ruined.”</p> <p>Swivel your head to the right, and you will catch sight of a dark wall on which one of Emin’s neon signs declares in pink letters: “My Cunt Is Wet with Fear” (1998). Precisely, and our fears have only grown worse over the succeeding decades.&nbsp;</p> <p>Do Emin and Munch really have much in common other than a burning desire to embrace, and be defined by, the miseries of life? What does this exhibition tell us? The first thing is this: Munch’s main subject here is mostly women, whereas Emin is mostly painting herself.&nbsp;</p> <figure class="wp-block-image size-large"><img data-attachment-id="615959" data-permalink="https://hyperallergic.com/key-32/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?fit=1460%2C1238&amp;quality=100&amp;ssl=1" data-orig-size="1460,1238" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;11&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;NIKON D800&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1549026448&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;85&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.008&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="key 32" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?fit=720%2C611&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?fit=780%2C662&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="662" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?resize=780%2C662&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615959" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?resize=1200%2C1018&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?resize=720%2C611&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?resize=768%2C651&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?resize=706%2C599&amp;quality=100&amp;ssl=1 706w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-32.jpg?w=1460&amp;quality=100&amp;ssl=1 1460w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Tracey Emin, It &#8211; didnt stop &#8211; I didnt stop, 2019. Acrylic on canvas, 152 x 183.5 x 3.7 cm. &nbsp;Xavier Hufkens © Tracey Emin. All rights reserved, DACS 2020</figcaption></figure> <p>Munch was not so much in the business of identifying with the loneliness of women as in emphasizing the solitariness of humanity in general — and especially the solitariness of Edvard Munch. He is a cold painter; none have ever warmed their hands at a Munch. His drifty, drizzle-haired, somnambulistic women can be creepily ethereal. They are certainly not vulnerable. They do not plead for sympathy. They are too removed from us for that.&nbsp;</p> <p>Not so Emin. Emin is in our faces, shouting into our ears. Even though she may paint thinly, she is not ethereal. She is visceral. The trials she has endured are all too real to resort to the vagaries of Munch’s Symbolism.</p> <p>Another thing to be said is that there are surprisingly few major paintings by Munch in this show. (Not so Emin. Emin is everywhere.) Was there a problem with loans? Has the new Munch museum in Oslo — to be opened this coming spring — kept most of its dearly beloved Munchs close to its chest?&nbsp;</p> <p>Though Munch’s scaled-up work is sparsely represented, a large cluster of smallish paintings of female nudes is on display in the first gallery. These small nudes provide a model for Emin’s self-representations, the way they lay, as if on a slab, curled into a fetal position.&nbsp;</p> <figure class="wp-block-image size-large"><img data-attachment-id="615960" data-permalink="https://hyperallergic.com/emin-32/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?fit=1460%2C973&amp;quality=100&amp;ssl=1" data-orig-size="1460,973" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;4&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark IV&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1604661271&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;16&quot;,&quot;iso&quot;:&quot;800&quot;,&quot;shutter_speed&quot;:&quot;0.033333333333333&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="EMIN-32" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?fit=720%2C480&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?fit=780%2C520&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="520" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?resize=780%2C520&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615960" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?resize=1200%2C800&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?resize=720%2C480&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?resize=768%2C512&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?resize=706%2C471&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/EMIN-32.jpg?w=1460&amp;quality=100&amp;ssl=1 1460w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Gallery view of <em>Tracey Emin/Edvard Munch: The Loneliness of the Soul</em>, from 7 December 2020 until 28 February 2021, at the Royal Academy of Arts, London (© Tracey Emin. All rights reserved, DACS 2020. Photo: © David Parry. Exhibition organized by MUNCH, Oslo, Norway, in partnership with the Royal Academy of Arts)</figcaption></figure> <p>Emin heightens the drama of self-exposure with her use of red, red, red. As with Munch in &#8220;Weeping Woman&#8221; (1907-9), smearings of red obliterate the features of a face entirely. Many of these paintings feel blood-suffused, blood-borne. It is the red of sacrifice, the red of the victim, the red of emotional evisceration.&nbsp;</p> <p>The red pigment streams and welters to such an extent that it brings to mind a line by the Elizabethan playwright Christopher Marlowe: <em>See, see where Christ&#8217;s blood streams in the firmament!</em> Emin&#8217;s painted strokes, scribbled, slashed, or left to drip, look feverishly provisional, as if no procedure involving hand and eye could capture quickly enough what she is trying to bring to birth. Her drizzling of paint is reminiscent of Munch&#8217;s open-mesh brushstrokes, his bodies made of lines and smears and stains.&nbsp;</p> <p>Her titles spirit us through a rapid succession of fragmentary autobiographical moments: “You were here like the ground underneath my feet” (2016); “It &#8211; didnt stop &#8211; I didnt stop” (2019); “You kept it coming” (2019).</p> <figure class="wp-block-image size-large"><img data-attachment-id="615962" data-permalink="https://hyperallergic.com/crouching-nude/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?fit=1460%2C1147&amp;quality=100&amp;ssl=1" data-orig-size="1460,1147" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Edvard Munch&quot;,&quot;camera&quot;:&quot;Canon EOS-1Ds Mark III&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1393951579&quot;,&quot;copyright&quot;:&quot;@ Munchmuseet&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Crouching Nude&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Crouching Nude" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?fit=720%2C566&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?fit=780%2C613&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="613" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?resize=780%2C613&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615962" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?resize=1200%2C943&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?resize=720%2C566&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?resize=768%2C603&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?resize=706%2C555&amp;quality=100&amp;ssl=1 706w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/key-4.jpg?w=1460&amp;quality=100&amp;ssl=1 1460w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Edvard Munch, &#8220;Crouching Nude&#8221; (1917-1919), oil on canvas, 70 x 90 cm, Munchmuseet</figcaption></figure> <p>Munch&#8217;s women, by comparison, appear trapped in slow time. Look at the solemn woman in profile who seems to be slow-treading the very air in “Woman in Hospital” (1897).</p> <p>The most significant Munch here is a masterpiece, and it is given the prominence and the dramatic sightline that it fully deserves. This is “The Death of Marat” (1907). Marat is dead on the bed. Charlotte Corday stands in front of him, facing us, the naked assassin, hair frizzed and electrified, body rigid, a-shimmer. Such strange potency!</p> <p>In some of Emin&#8217;s larger recent works, much of the canvas remains unpainted; she seems to have chosen to lose sight of herself, to be slipping away, to be almost unpaintable, unfathomable. The best of her work has always been a thing composed of fragmentary strokes. But some of her larger paintings in this show seem to be strangely empty of content. Although the size is bold enough, full of promise, the painted lines are very few. These are images moving toward a fuller realization of themselves, but that have, somehow, failed or stopped, leaving an inner emptiness. Such is the incompleteness of the soul, the nature of solitude.</p> <p><a href="https://www.royalacademy.org.uk/exhibition/tracey-emin-edvard-munch">Tracey Emin/Edvard Munch: The Loneliness of the Soul</a> <em>continues at the Royal Academy of Arts (Burlington House, Piccadilly, London, England) through February 28, and then tours to the Munch Museum, Oslo, in the summer of 2022.</em></p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=iUjIDBGa9yw:9VnkYp3__Ws:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=iUjIDBGa9yw:9VnkYp3__Ws:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=iUjIDBGa9yw:9VnkYp3__Ws:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=iUjIDBGa9yw:9VnkYp3__Ws:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/iUjIDBGa9yw" height="1" width="1" alt=""/> Writing from Another World https://hyperallergic.com/615610/eric-baus-writing-from-another-world/ Hyperallergic urn:uuid:62c3a9e6-ee40-9df2-0a5a-64aedc714113 Sat, 23 Jan 2021 06:02:00 +0100 <figure><img width="720" height="840" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?fit=720%2C840&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?w=1080&amp;quality=100&amp;ssl=1 1080w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?resize=720%2C840&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?resize=768%2C896&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?resize=706%2C824&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616437" data-permalink="https://hyperallergic.com/615610/eric-baus-writing-from-another-world/thumbnail-64/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?fit=1080%2C1260&amp;quality=100&amp;ssl=1" data-orig-size="1080,1260" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="thumbnail" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?fit=720%2C840&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?fit=780%2C910&amp;quality=100&amp;ssl=1" /></figure>Eric Baus’s sentences follow the rules of grammar, but something inexplicable happens by the time you reach the end. <figure><img width="720" height="840" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?fit=720%2C840&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?w=1080&amp;quality=100&amp;ssl=1 1080w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?resize=720%2C840&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?resize=768%2C896&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?resize=706%2C824&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616437" data-permalink="https://hyperallergic.com/615610/eric-baus-writing-from-another-world/thumbnail-64/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?fit=1080%2C1260&amp;quality=100&amp;ssl=1" data-orig-size="1080,1260" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="thumbnail" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?fit=720%2C840&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-4.jpeg?fit=780%2C910&amp;quality=100&amp;ssl=1" /></figure> <p>It is one thing to create an alternative world, which is what many science fiction writers do. It is another to write from inside an alternative world, which is what Eric Baus achieves in his fifth book, <em><a href="https://bookshop.org/a/539/9781733455107">How I Became a Hum</a></em> (Octopus Books, 2019). The book is comprised of short prose poems, some of which are only one sentence long. The longest piece, “Beginner’s Abyss,” is nine sentences, three of which consist of two words. &nbsp;</p> <p><em>How I Became a Hum</em> is divided into eight titled sections. The third section is called “The Datura Plains.”&nbsp;</p> <p>Datura is best known as jimson weed, but it is also known as devil’s trumpets and moonflower. It is a poisonous plant possessing psychotropic properties.&nbsp;The world from which Baus writes seems to be surrounded or, at the very least, bordered by datura.&nbsp;</p> <p>In this world occasionally “the city” does something unexpected (for example, it “convicted us of speaking through its horn”) but we do not see any of its architectural details. The city first appears in the second section, “Bad Shadow,” along with “my brother” and an address (“1515 Echo Lane”), but we never see inside that “sterile house.” And yet, if this combination suggests memories of childhood or another familiar trope, think again.&nbsp;</p> <div class="wp-block-image"><figure class="alignleft size-large"><img data-attachment-id="616453" data-permalink="https://hyperallergic.com/615610/eric-baus-writing-from-another-world/thumbnail-1-1/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?fit=1000%2C1333&amp;quality=100&amp;ssl=1" data-orig-size="1000,1333" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="thumbnail-1-1" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?fit=720%2C960&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?fit=780%2C1040&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="1040" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?resize=780%2C1040&#038;quality=100&#038;ssl=1" alt="" class="wp-image-616453" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?w=1000&amp;quality=100&amp;ssl=1 1000w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?resize=720%2C960&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?resize=768%2C1024&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?resize=900%2C1200&amp;quality=100&amp;ssl=1 900w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?resize=600%2C800&amp;quality=100&amp;ssl=1 600w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?resize=300%2C400&amp;quality=100&amp;ssl=1 300w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?resize=150%2C200&amp;quality=100&amp;ssl=1 150w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/thumbnail-1-1.jpeg?resize=706%2C941&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Eric Baus</figcaption></figure></div> <p>Baus’s prose poems overflow with events that never coalesce into a narrative, nor do they feel disjointed or arbitrary. The sentences follow the rules of grammar, but something inexplicable happens by the time you reach the end: “The mirage minted its quills into a claw.” What is real and what is not real? The reader might do well to realize that such a question is beside the point, as in Baus’s world things are both.&nbsp;</p> <p>This refusal to adhere to any of the natural laws we believe govern the world we inhabit is one of Baus’s many strengths. He gives the reader glimpses of a world that is utterly alien and yet still possible: “I felt a monsoon crown my brain when the circuits in the static sanctuary burst.” This is as good an evocation of a hallucinatory state as I have ever read. What further elevates it from the realm of imagination is that the author never suggests this state was induced.&nbsp;</p> <p>The world that Baus writes from is interior — an altered state simultaneously animated by the sonic and the linguistic elements of language. To read one of his sentences is to go down the rabbit hole: “Mice poured from the auxiliary skylight in the damaged heart of a guard dog.” From the first conjunction of noun and verb (“Mice poured”), I was hooked. The shift in scale and attention keeps readers from knowing where they will end up.&nbsp;</p> <p>This is the beauty of Baus’s writing: as readers we know neither where we are going nor our destination. This happens in both the prose sentences and the poems. The poem “Seagull Murmur,” which opens with “Mice poured […]” is four sentences long and ends with “A small tomato floated over its grave.” Each sentence feels like it&#8217;s an integral part of the poem, yet it also stands on its own. That tension, between part and whole, reverberates throughout the strongest pieces in this book.</p> <p>Certain words recur in each section. “Pupa” makes a number of appearances in the first section, “The Rain of the Ice.” Am I alone in hearing the homophone “reign” in “rain?”</p> <p>In his essay “Concerning a Journey to the Land of the Tarahumaras” (translated by David Rattray), Antonin Artaud begins:&nbsp;</p> <blockquote class="wp-block-quote"><p>The land of the Tarahumara is full of signs, shapes, and natural effigies which do not seem to be mere products of accidents […]</p></blockquote> <p>In Baus&#8217;s prose poems — which are unlike anyone else’s — things and ghosts speak, and all the pronouns appear. Baus writes from a place that is full of transformations, shape-shifting presences, omens, and sentient creatures. Insects and animals roam throughout this domain. The body of the one writing these poems has “claws” and leads “pawns.”&nbsp;“The result is a condensed dove.” None of this seems to be an accident or a matter of chance.&nbsp;</p> <p><a href="https://bookshop.org/books/how-i-became-a-hum/9781733455107">How I Became a Hum</a> <em>by Eric Baus (2019) is published by <a href="https://www.octopusbooks.net/books-1/how-i-became-a-hum-by-eric-baus">Octopus Books</a> and is available online and in bookstores.</em></p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=C61rSowlBgI:E_lPktBliBE:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=C61rSowlBgI:E_lPktBliBE:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=C61rSowlBgI:E_lPktBliBE:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=C61rSowlBgI:E_lPktBliBE:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/C61rSowlBgI" height="1" width="1" alt=""/> Pieces of a Woman Falls to Pieces https://hyperallergic.com/614354/pieces-of-a-woman-vanessa-kirby/ Hyperallergic urn:uuid:d220ec44-46de-d2b8-62c0-d2962e87df69 Sat, 23 Jan 2021 06:01:00 +0100 <figure><img width="720" height="394" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-PIECES-OF-A-WOMAN-2_rgb-scaled-e1610409822251.jpg?fit=720%2C394&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="614363" data-permalink="https://hyperallergic.com/pieces-of-a-woman-vanessa-kirby-as-martha-2/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-PIECES-OF-A-WOMAN-2_rgb-scaled-e1610409822251.jpg?fit=1460%2C800&amp;quality=100&amp;ssl=1" data-orig-size="1460,800" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Netflix&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;PIECES OF A WOMAN: Vanessa Kirby as Martha&quot;,&quot;created_timestamp&quot;:&quot;1595436074&quot;,&quot;copyright&quot;:&quot;2020 \u00a9 Netflix Inc.&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;PIECES OF A WOMAN: Vanessa Kirby as Martha&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="PIECES OF A WOMAN: Vanessa Kirby as Martha" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-PIECES-OF-A-WOMAN-2_rgb-scaled-e1610409822251.jpg?fit=720%2C394&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-PIECES-OF-A-WOMAN-2_rgb-scaled-e1610409822251.jpg?fit=780%2C427&amp;quality=100&amp;ssl=1" /></figure>What begins as a trenchant exploration of losing a child becomes a <i>Lifetime</i>-esque affair that strays so sharply from a mother’s grief that it feels a bit like a betrayal. <figure><img width="720" height="394" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-PIECES-OF-A-WOMAN-2_rgb-scaled-e1610409822251.jpg?fit=720%2C394&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="614363" data-permalink="https://hyperallergic.com/pieces-of-a-woman-vanessa-kirby-as-martha-2/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-PIECES-OF-A-WOMAN-2_rgb-scaled-e1610409822251.jpg?fit=1460%2C800&amp;quality=100&amp;ssl=1" data-orig-size="1460,800" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Netflix&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;PIECES OF A WOMAN: Vanessa Kirby as Martha&quot;,&quot;created_timestamp&quot;:&quot;1595436074&quot;,&quot;copyright&quot;:&quot;2020 \u00a9 Netflix Inc.&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;PIECES OF A WOMAN: Vanessa Kirby as Martha&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="PIECES OF A WOMAN: Vanessa Kirby as Martha" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-PIECES-OF-A-WOMAN-2_rgb-scaled-e1610409822251.jpg?fit=720%2C394&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-PIECES-OF-A-WOMAN-2_rgb-scaled-e1610409822251.jpg?fit=780%2C427&amp;quality=100&amp;ssl=1" /></figure> <p>In a 24-minute single take, a stylish blond named Martha (Vanessa Kirby) delivers a baby. She grunts, squats, sweats, curses, rendering this most womanly of labors intensely unfeminine. The handheld camera swerves to and fro, roving voyeuristically throughout the hall that links the rooms of a Boston townhouse. Her slate nails grip the rim of a claw-foot tub; her bearded partner, Sean (Shia LaBeouf), nervously caresses her face. The music of Sigur Rós swells in the background, then fades when midwife Eva (Molly Parker) returns to urge Martha to push. From her soft-lit bedroom the woman wails, Icelandic post-rock drowned out by newborn cries soon followed by eerie quiet.</p> <p>From its September debut at the Venice Film Festival, <em>Pieces of a Woman </em>has been pegged as easy <a href="https://variety.com/2020/film/awards/interview-vanessa-kirby-ellen-burstyn-1234830660/">Oscar fodder</a> for its daring, virtuosic account of a home birth that ends in tragedy. Directed by Hungarian filmmaker Kornél Mundruczó and written by his partner, Kata Wéber, <em>Pieces of a Woman </em>is their first English-language feature and the first to be set in the United States. Known for gritty subjects and dazzling visuals, Mundruczó drew international acclaim with <em>White God </em>(2014), a drama about an abandoned mutt turned brutal fighter, which culminates in an <a href="https://www.youtube.com/watch?v=ox2BiuaiBqo">epic scene</a> of stray dogs storming the bridges and streets of Budapest. What seemed the effects of CGI was achieved with hundreds of breathing, barking, marvelously choreographed mixed-breed canines. Not to be outdone by this past feat, the director shifted his ambitions in <em>Pieces</em> <em>of a Woman</em> from the spectacularly public to the unnervingly personal.&nbsp;</p> <figure class="wp-block-image size-large"><img data-attachment-id="614362" data-permalink="https://hyperallergic.com/pieces-of-a-woman-l-to-r-shia-lebeouf-as-sean-and-vanessa-kirby-as-martha/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_20_19_23_rgb-scaled-e1610409791323.jpg?fit=1460%2C789&amp;quality=100&amp;ssl=1" data-orig-size="1460,789" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Netflix&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;PIECES OF A WOMAN: (L to R) Shia LeBeouf as Sean and Vanessa Kirby as Martha&quot;,&quot;created_timestamp&quot;:&quot;1604684293&quot;,&quot;copyright&quot;:&quot;2020 \u00a9 Netflix Inc.&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;PIECES OF A WOMAN: (L to R) Shia LeBeouf as Sean and Vanessa Kirby as Martha&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="PIECES OF A WOMAN: (L to R) Shia LeBeouf as Sean and Vanessa Kirby as Martha" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_20_19_23_rgb-scaled-e1610409791323.jpg?fit=720%2C389&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_20_19_23_rgb-scaled-e1610409791323.jpg?fit=780%2C422&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="422" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_20_19_23_rgb.jpg?resize=780%2C422&#038;quality=100&#038;ssl=1" alt="" class="wp-image-614362" data-recalc-dims="1"/><figcaption>Shia LeBeouf as Sean and Vanessa Kirby as Martha in <em>Pieces of a Woman</em></figcaption></figure> <p>To some, the switch from dog-fighting to baby-birthing might surprise. It shouldn’t, of course; the latter is just as primal and often even grislier. That Mundruczó’s lens doesn’t shy from this fact is itself worthy of admiration, especially given the dearth of films that honestly tackle the trauma of childbirth, let alone the loss of a pregnancy or death of an infant. Skim through “<a href="https://www.filmaboutit.com/en/movies/topic/loss-of-a-child-540/">Movies About the Loss of a Child”</a> and you’ll find fare about freak accidents on vacation, toddlers in traffic, and winsome murdered daughters galore. The much more common experiences of <a href="https://my.clevelandclinic.org/health/diseases/9688-miscarriage%23:~:text=About%2525201%25252F3%252520to%2525201,%25252C%252520before%25252020%252520weeks'%252520gestation.">miscarriage</a> and <a href="https://americanpregnancy.org/getting-pregnant/pregnancy-loss/stillborn-trying-to-understand-589/">stillbirth</a> lack sensational — and paternalistic — pull, and the extent to which they orbit specifically female experience is likely another reason that they are almost never the narrative focus of a serious prestige film.</p> <p>Inspired in part by her own miscarriage, Wéber originally wrote a successful play of the same name for the <a href="https://online.trwarszawa.pl/epg/audition/prg.57">TR Warszawa theater</a> in Warsaw, Poland, its story compressed into two heavy-hitting acts: the delivery and death of a daughter in the first and a tumultuous dinner with Martha’s family in the second. As a veteran stage actor, Kirby was a natural choice for the lead in the screen adaptation and deserves any nomination that might be handed her way — as much for her bracing depiction of mundane grief as for her feral performance of giving birth. Heading back to the office to face her mealy-mouthed coworkers, hiding her leaking breasts from a little girl gawking in a clothing boutique, using a public restroom in disposable maternity briefs that mock her very existence: the vagaries of post-loss life are a triathlon of suffering. Martha responds with a tenacious detachment as disturbing as it is plausible: “In 60, 70 percent of these cases, we rarely find a satisfactory explanation,” the medical examiner tells her. “I’m very sorry.” Martha rises with a stiff “Thank you.”</p> <figure class="wp-block-image size-large"><img data-attachment-id="614360" data-permalink="https://hyperallergic.com/pieces-of-a-woman-l-to-r-molly-parker-as-eva-and-vanessa-kirby-as-martha/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_12_09_11_rgb-scaled-e1610409753859.jpg?fit=1460%2C789&amp;quality=100&amp;ssl=1" data-orig-size="1460,789" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Netflix&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;PIECES OF A WOMAN: (L to R) Molly Parker as Eva and Vanessa Kirby as Martha.&quot;,&quot;created_timestamp&quot;:&quot;1603176899&quot;,&quot;copyright&quot;:&quot;2020 \u00a9 Netflix Inc.&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;PIECES OF A WOMAN: (L to R) Molly Parker as Eva and Vanessa Kirby as Martha.&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="PIECES OF A WOMAN: (L to R) Molly Parker as Eva and Vanessa Kirby as Martha." data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_12_09_11_rgb-scaled-e1610409753859.jpg?fit=720%2C389&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_12_09_11_rgb-scaled-e1610409753859.jpg?fit=780%2C422&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="422" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_12_09_11_rgb.jpg?resize=780%2C422&#038;quality=100&#038;ssl=1" alt="" class="wp-image-614360" data-recalc-dims="1"/><figcaption>Molly Parker as Eva and Vanessa Kirby as Martha in <em>Pieces of a Woman</em></figcaption></figure> <p>From there, it seems that the film will unfold as a grueling character and relationship study of Martha and Sean in their adverse methods of grieving their daughter. As Sean rocks in a chair, a silent Martha holds two bags of frozen veggies to numb her breasts. “I miss her,” Sean sobs, his head in his hardened hands as he begs Martha not to donate their baby’s body to science. “Promise me you won’t send her anywhere.”&nbsp;</p> <p>Against such wrenching, realistic exchanges, viewers could be forgiven for missing the maudlin subplot that starts to take over. Sean is being pressured by Martha’s mother, Holocaust survivor Elizabeth (Ellen Burstyn), to file a civil suit against the midwife for ostensive malpractice. What could be a compelling portrait of masculine vulnerability soon kowtows to caricature; depictions of tenable domestic dysfunction devolve into stereotypes. Sean goes back to the bottle and swaps working-class swagger for boorish aggression (uncanny given the recent <a href="https://www.nytimes.com/2020/12/11/arts/music/fka-twigs-shia-labeouf-abuse.html">assault allegations</a> against LaBeouf); Elizabeth turns into a cliché of a tyrannical, hyper-materialistic Jewish mother, bribing Sean to ditch her daughter and “make sure she knows you are never coming back.”</p> <figure class="wp-block-image size-large"><img data-attachment-id="614361" data-permalink="https://hyperallergic.com/pieces-of-a-woman-vanessa-kirby-as-martha/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_30_53_04_rgb-scaled-e1610409771965.jpg?fit=1460%2C789&amp;quality=100&amp;ssl=1" data-orig-size="1460,789" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Netflix&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;PIECES OF A WOMAN: Vanessa Kirby as Martha&quot;,&quot;created_timestamp&quot;:&quot;1603094400&quot;,&quot;copyright&quot;:&quot;2020 \u00a9 Netflix Inc.&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;PIECES OF A WOMAN: Vanessa Kirby as Martha&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="PIECES OF A WOMAN: Vanessa Kirby as Martha" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_30_53_04_rgb-scaled-e1610409771965.jpg?fit=720%2C389&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_30_53_04_rgb-scaled-e1610409771965.jpg?fit=780%2C422&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="422" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pieces-of-a-woman-Pieces_of_a_Woman_00_30_53_04_rgb.jpg?resize=780%2C422&#038;quality=100&#038;ssl=1" alt="" class="wp-image-614361" data-recalc-dims="1"/><figcaption>Vanessa Kirby as Martha in <em>Pieces of a Woman</em></figcaption></figure> <p>As such, <em>Pieces </em>falls to pieces. What began as a trenchant exploration of losing a child becomes a Lifetime-esque affair that strays so sharply from Martha’s grief that it feels a bit like a betrayal. Mundruczó and Wéber would have been wise to stick to the stripped-down narrative of their hit play: the heart of the film is a mother’s pain after the heart of her daughter has terribly stopped; all the courtroom drama that subsumes the film’s latter half feels like soap-opera fare by comparison. That the legal battle it depicts is based upon a real-life case against a midwife in Hungary makes no difference; the thrill, and gratifying closure, of any courtroom sequence is learning, bit by bit, what really happened. In <em>Pieces of a Woman</em>, not only have viewers already witnessed what happened, but we have witnessed it in an unremitting 24-minute shot. We have seen and heard everything and have no doubt that the Eva, herself a mother, was inculpable. The trial comes across as a good mommy versus bad mommy travesty in light of the personal trial that Martha braves.</p> <p>“There might be a reason for what happened, but we are not going to find it here in this room,” Martha declares in a courtroom monologue that seems straight out of <em>Law &amp; Order</em>. We are also not going to find the reason in <em>Pieces of a Woman</em>, nor should we want to. Lingering on the details of maternal loss — and the messy process of healing — would be more than enough to carry the film.</p> <p>Pieces of a Woman<em> is currently streaming on Netflix.&nbsp;</em></p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=8e2E_k46n7g:aPLhAenTI8I:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=8e2E_k46n7g:aPLhAenTI8I:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=8e2E_k46n7g:aPLhAenTI8I:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=8e2E_k46n7g:aPLhAenTI8I:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/8e2E_k46n7g" height="1" width="1" alt=""/> Playboi Carti’s Impressionist Rap https://hyperallergic.com/615908/playboi-carti-whole-lotta-red/ Hyperallergic urn:uuid:a685823e-81e2-4fb3-ee41-6561504bf759 Sat, 23 Jan 2021 06:00:00 +0100 <figure><img width="720" height="720" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/whole-lotta-red-e1611104097431.jpg?fit=720%2C720&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615936" data-permalink="https://hyperallergic.com/whole-lotta-red/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/whole-lotta-red-e1611104097431.jpg?fit=1460%2C1460&amp;quality=100&amp;ssl=1" data-orig-size="1460,1460" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="whole lotta red" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/whole-lotta-red-e1611104097431.jpg?fit=720%2C720&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/whole-lotta-red-e1611104097431.jpg?fit=780%2C780&amp;quality=100&amp;ssl=1" /></figure>Carti’s willingness to disappear runs counter to the egotist individualism that has characterized rap since its inception. <figure><img width="720" height="720" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/whole-lotta-red-e1611104097431.jpg?fit=720%2C720&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615936" data-permalink="https://hyperallergic.com/whole-lotta-red/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/whole-lotta-red-e1611104097431.jpg?fit=1460%2C1460&amp;quality=100&amp;ssl=1" data-orig-size="1460,1460" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="whole lotta red" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/whole-lotta-red-e1611104097431.jpg?fit=720%2C720&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/whole-lotta-red-e1611104097431.jpg?fit=780%2C780&amp;quality=100&amp;ssl=1" /></figure> <p><a href="http://www.playboicarti.com">Playboi Carti</a> has lost himself in sound. The Atlanta rapper’s <em>Whole Lotta Red</em>, released on Christmas as a surprise present to fans, defies rap’s usual rules as meaning dissolves, trap’s sonic hallmarks are pastiched, impulsive segues continually disrupt the flow, and rappers can fly. You could spend weeks playing in the soundscape he’s created.&nbsp;</p> <p><em>Whole Lotta Red</em> confirms Carti’s status as a protean innovator. Goofy, cackling, often barely noticeable, putting more energy into the ad-libs than the main verse, he completes a historical progression that started a decade ago with Lil Wayne and moved through Young Thug, among others: first, rappers eased the requirement that their verses make sense; then, that they enunciate clearly. With Carti, this particular lineage has finally reached its logical endpoint (although who knows what limits the next generation will push). Reducing his voice to just another aural element alongside the beat, one more pretty sound to complement the whooshing synthesizers and skittering snare drums, he steps further out of the songs’ spotlight, departing even more from the confines of traditional coherence.&nbsp;</p> <p>What’s left is a silly and delightful sensibility. Contra the claims of several rap critics, this music is not “post-verbal” (there are words, and sometimes they’re even audible), but lyrics are not the point, at least not in the way that rappers usually conceive them. Instead, Carti’s repetitive, dissociated verses and woozy beats (often courtesy of frequent creative partner Pi’erre Bourne) produce a disorienting rap impressionism, a style so mannered and distinctive it needs no subject; if anything, this music is preverbal, inducing a sort of amniotic unconscious state. It is as committed to luxurious immersion as shoegaze or ambient music, but it’s faster and crisper — it functions simultaneously as party music.&nbsp;</p> <p>Rappers have often described hedonism lyrically. In its jumbled, overwhelming neon rush as well as his zonked delivery, Carti’s music evokes it sonically. After years of mysterious leaks and occasional singles, his debut mixtape <em>Playboi Carti</em> (2017) delineated the boundaries of this style, and <em>Die Lit</em> (2018) expanded the template with thicker beats and more beguiling musical puzzles. <em>Whole Lotta Red</em> is longer and more varied, as he imaginatively toys with the formula; the songs are short, playful, and numerous. It has the variety of what used to be called a double album, before streaming-era commercial imperatives inflated every major-label release to distended size.</p> <p>When <em>Die Lit</em> clocked in at 19 songs in just under an hour, it seemed at the time that Carti, too, was on the verge of succumbing to Spotify-inspired bloat. In light of <em>Whole Lotta Red</em>, whose 24 songs last just over an hour, it’s clear such abundance is crucial to the aesthetic experience. Usually hip-hop projects this expansive eschew unified coherence to allow for poaching, so that fans will pick their favorite tracks and include them on playlists, but Carti’s albums are playlists in themselves. <em>Die Lit</em> and <em>Whole Lotta Red</em> share a sense of mischievous excess with, say, mid-’00s Lil Wayne mixtapes, designed less as linear sequences and more as theoretically infinite wallpaper that you can tune into as long as you feel like. You can listen to the album all the way through in order, or shuffled randomly or according to your own sequences, and still get lost in the world these artists have created. (<em>Playboi Carti</em> is relatively tighter and cleaner, but it reflects the same chaotic sensibility.)&nbsp;</p> <figure class="wp-block-image size-large"><img data-attachment-id="615935" data-permalink="https://hyperallergic.com/die-lit/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/die-lit-e1611104117534.jpg?fit=1460%2C1460&amp;quality=100&amp;ssl=1" data-orig-size="1460,1460" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="die lit" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/die-lit-e1611104117534.jpg?fit=720%2C720&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/die-lit-e1611104117534.jpg?fit=780%2C780&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="780" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/die-lit-1200x1200.jpg?resize=780%2C780&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615935" data-recalc-dims="1"/><figcaption>Playboi Carti, <em>Die Lit </em>(2018)</figcaption></figure> <p>Where most albums wear out once you’ve internalized their narrative sequence, Carti’s are practically inexhaustible. It’s easy to immerse oneself in the voluptuous beats of Bourne, Art Dealer, and F1lthy, producers on <em>Whole Lotta Red</em> who assemble a decadent array of slithering synthesizer textures so rich they glow. Carti himself often gets buried beneath warm waves of electronic sound, especially when lapsing into his signature yelping, high-pitched “baby voice.” <em>Whole Lotta Red</em> expands his vocal register, as he complements the baby voice with a number of newly invented, increasingly wild modes of delivery — most strikingly, a hoarse rasp, as when the opening “Rockstar Made” finds him struggling to croak the song’s hook and the dissonant keyboards drown him out.</p> <p>Carti has a keen ear for repetition and constantly repeats phrases, bringing out the curious poetry of such gnomic lines as “I’m a dark knight bitch, yeah I can’t sleep/I fly in the sky, I got wings on my feet,” “I could fall out the sky and I still won’t feel nothin’,” and “When I go to sleep I dream about murder” (is he victim or perpetrator?). His taste for ad-libs persists, and throughout the album he rarely raps two consecutive lines without inserting some quasi-improvised exclamation between them. Some verses consist entirely of ad-libs, building dizzy echo chambers where countless chirping voices play call-and-response games; after the first chorus on “Stop Breathing,” he utters a panting, polyphonous refrain that the good folks at <a href="https://genius.com/Playboi-carti-stop-breathing-lyrics">Genius</a> have transcribed as:&nbsp;</p> <pre class="wp-block-verse"><em>Ha, ha, ha, ha (Slatt, ayy)</em> <em>Ha, ha (Yеah), ha, ha (Ayy)</em> <em>Ha, ha (Yeah), ha (Oh my), ha (Yeah)</em> <em>Ha, ha (What?), ha (What?), ha (What? Damn)</em></pre> <p>If ordinary standards of craft and coherence don’t apply to this music, that doesn’t exempt it from criticism. Although <em>Whole Lotta Red</em> has a whole lotta songs, many are fragmentary throwaways like “Place” and “JumpOutTheHouse,” which last under two minutes and hardly include anything but one refrain repeated over and over. In keeping with voguish SoundCloud rap experiments in minimalist brevity — Tohji’s “Propella” is one recent example — Carti’s fixation on snippets feels relatively underdeveloped, as he doesn’t sufficiently distinguish each track. Where each song on <em>Playboi Carti</em> and <em>Die Lit</em> inhabited its own self-sufficient ecosystem, <em>Whole Lotta Red</em> depends on the loopy flow that results from juxtaposing so many snippets together, making it greater than the sum of its parts. In this sense it’s more conventionally album-esque.&nbsp;</p> <p>Carti sounds more like himself on the longer, full-fledged conceits. “Vamp Anthem” rides a jerky, chopped-up beat that splices the organ chords from Bach’s “Toccata and Fugue in D Minor,” as he declares himself a vampire in such a throaty growl you believe him, while on the groggy “Teen X,” he alternates between his already squeaky baby voice and a shrill Auto-Tuned chirp several octaves higher. In the past year, New York rapper 645AR has gone viral for using a similarly pitch-corrected chipmunk cadence. By mixing it freely with other modes of delivery, Carti rescues the style from the taint of novelty. “Control” is his sweetest confection: over glistening synthesizer chords seeping through distorted speakers, he gargles a series of stilted love confessions, stumbling his way through awkward rhymes and throat-clearing evasions (“Basically, what I’m saying is …”) that make him sound tongue-tied, while the beat captures the sound of a blush.&nbsp;</p> <p>Ultimately, though, <em>Whole Lotta Red</em>’s countless individual sublime moments are swept up in the album’s cumulative rush, and this is his secret. While even his weirdest contemporaries still feel the need to center themselves as performers, Carti’s willingness to disappear on his own songs runs counter to the egotist individualism that has characterized rap since its inception. When Young Thug, say, plays with pronunciation and melody, twisting syllables around into his own private language, he does so as a virtuoso trying to dazzle you; there’s technique involved, however eccentric, leaving traditionally masculine conceptions of skill and control intact. By letting oceanic sonics wash over him, Carti softens the boundaries between language and sound, between meaning and sensation, into an ecstatic blur. Floating through clouds, he finds oneness between the bass and the snare drums.</p> <p>That a gaggle of hip-hop purists therefore refuse to recognize this music as rap at all shouldn’t bother Carti, the last artist who’d fuss over the definitions of words. <em>Whole Lotta Red</em> is rap, obviously, but, more importantly, it’s beautiful — surreal, colorful, sugary, impish, and wild.&nbsp;</p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=AaNnd6JcrgE:NgQ9_J1zzR8:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=AaNnd6JcrgE:NgQ9_J1zzR8:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=AaNnd6JcrgE:NgQ9_J1zzR8:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=AaNnd6JcrgE:NgQ9_J1zzR8:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/AaNnd6JcrgE" height="1" width="1" alt=""/> After Pandemic’s Rapid Change, Sotheby’s Has 8 Predictions for 2021 https://www.artnews.com/art-news/market/sothebys-art-market-future-2021-1234582029/ ARTnews.com urn:uuid:96ca10fa-a0e4-345a-059a-8019cc484021 Fri, 22 Jan 2021 23:14:55 +0100 What does the future hold for 2021? The auction house looks forward. <p>In 2019, when Charles Stwart was named CEO of Sotheby&#8217;s, he knew 2020 was going to be a year of big changes. But he got more change than expected, when, due to restrictions around the coronavirus pandemic that began in March, his first full auction season faced a global shut down. Yet when your mission is to continue to move a 276-year-old company into the digital future, more change is probably better than less. For the <a href="https://www.artnews.com/t/auction-house/" id="auto-tag_auction-house" data-tag="auction-house">auction house</a>, the pandemic&#8217;s silver lining has been the rapid change forced upon the international art market.</p> <p>“The longer the current lockdowns and restrictions remain, the weaker the pre-Covid habits become,&#8221; said Stewart, seated in a back hallway at the houses&#8217;s York Avenue headquarters behind the exhibition for the upcoming blockbuster Old Masters evening sale, in an interview. &#8220;It’s not at all clear to me that everything snaps back.”</p> <p>No one is suggesting that last year was easy. Sotheby’s took the lead with their auction format creating a livestream sale that featured their specialists as the main characters in the bidding drama. “We keep coming back to the idea that at the heart of the company is the expertise,” Stewart says. “It’s what differentiates from any kind of digital only platform. We don’t do enough to showcase the specialists. You have to be in the know to have the access and awareness to know who they are and why you should speak to them.&#8221;</p> <p>The livestream sales were the most visible side of the auction house’s response to the pandemic. But it wasn’t the only one. And the advent of mass vaccination has Stewart looking toward 2021 to consolidate his company’s embrace of ongoing change.</p> <p>“There was this period of massive adaptation,” Stewart said. “This year is different. Now we know. We know we can operate basically in a fully remote environment. This year, it is a question of looking at the adaption and asking which portions of that were really innovative—which do we want to make strategic and which were just us trying to cope in the moment.&#8221;</p> <p>With all of that in mind, Stewart decided to poll his leadership team—and his employees—for their ideas about the future of the art market. They came up with eight predictions for 2021. If 2020 taught us anything, these predictions are probably more indicative of Sotheby’s thinking about their business than they are literal prognostications. Either way, they are a window into what a major auction house&#8217;s internal deliberations are like.</p> <p><strong>Sotheby’s Predictions for 2021:</strong></p> <p><strong>New sites and bespoke events: </strong></p> <ul> <li>The art world is pining for <strong>in-person communication</strong> and a change of scenery. There will be a reinterpretation or reimagining of physical experiences once those can be held safely again and we’ll see a lasting resistance to large-scale events and greater demand for exclusive, high quality in-person events with an immersive digital component. Further, there will be a greater focus on presenting art in unique and innovative locations, and in a way that takes advantage of public spaces and virtual networks outside of the establishment.</li> </ul> <p><strong>Virtual audiences to expand: </strong></p> <ul> <li>The <strong>audience for buyers </strong>will continue to expand in 2021 as rapid technological transformation and the embrace of digital channels will remain ever present. The comprehensive set of digital tools clients can now access has not only broken down barriers to entry, but reduced the need to view or physically handle works in person prior to purchasing. As a result, the average number of times that a work is seen will exponentially multiply.</li> </ul> <p><strong>A new emphasis on sustainability: </strong></p> <ul> <li>The art world will continue to make significant strides in <strong>advancing sustainability initiatives</strong> and reducing its carbon footprint. From eliminating printed catalogues, invites, crates and excess packaging in art shipping and handling, to rethinking the need for international air travel for art fairs and exhibitions, there will be a greater consensus about how to reduce waste and incorporate more sustainable practices. In doing so, there will also be a shift in how art itself reflects the growing concerns of our ecological crisis, and the types of art collectors are interested in.</li> </ul> <p><strong>Local will be the new global</strong>:</p> <ul> <li>Driven by pandemic travel restrictions, local will be the new global. Having unavoidably spent much more time than usual in their hometowns and areas, many people have come to appreciate more acutely the sense of regional identity that was increasingly lost with globalization. This will mean that local styles and movements will become more pronounced and revered and will impact how and what auction houses and galleries choose to exhibit, as well as heighten the importance of local museums as people rediscover their local regions.</li> </ul> <p><strong>Hybrid auctions will replace old model:</strong></p> <ul> <li>Following the continued rise of <strong>cross-category collecting</strong> in 2020, which offered contemporary art alongside cars and design objects, auctions featuring property from various departments will continue and increase in volume in 2021. Similar to museum exhibitions, more auctions will be contextualized by era or a specific theme rather than by a singular department.</li> </ul> <p><strong>Market players will consolidate:</strong></p> <ul> <li>The distinctions between art fairs, galleries, and auction houses will continue to blur in 2021 as the <strong>primary and secondary markets converge</strong> at an even greater scale than last year. Building upon the barriers that were broken down in 2020, market players will experience reconfiguration due to information consolidating and being widely available.</li> </ul> <p><strong>The Asian market will continue to rise: </strong></p> <ul> <li>The strength of the market in <strong>Asia</strong> saw a step change in 2020, with a steady influx of new, younger buyers and a radically expanded buyer base with greater cross-category participation. This will continue in 2021. The demand for works by Western and emerging artists will continue to rise as well as a strong continued appreciation for classical works and luxury.</li> </ul> <p><strong>African art hubs will be new attractions: </strong></p> <ul> <li>The number of buzzworthy artist-driven projects throughout <strong>Africa</strong>, coupled with the recent excitement for figurative paintings by young artists of the continent&#8217;s diaspora, will segue into a greater interest in African art and art history, which will be enhanced by the continent’s ability to participate digitally at a greater scale than physically within the market. Once it is safe to travel again, various hubs in Africa are gearing up as burgeoning destinations for the arts—among them established cities like Cape Town, as well as others such as Lagos and Benin City, where new world-class institutions are being built.</li> </ul> SFAI Board Chair Resigns Amid Outcry at Storied California Art School https://www.artnews.com/art-news/news/sfai-board-chair-resigns-pam-rorke-levy-1234582006/ ARTnews.com urn:uuid:ad338d29-6a8e-60ea-c4ef-9287454033b0 Fri, 22 Jan 2021 23:12:47 +0100 Photographer Lonnie Graham will take over the position. <p>With the <a href="https://www.artnews.com/t/san-francisco-art-institute/" id="auto-tag_san-francisco-art-institute" data-tag="san-francisco-art-institute">San Francisco Art Institute</a>, one of the most highly regarded art schools in the U.S., facing pushback over recent moves it has made over its future, board chair <a href="https://www.artnews.com/t/pam-rorke-levy/" id="auto-tag_pam-rorke-levy" data-tag="pam-rorke-levy">Pam Rorke Levy</a> has resigned. Photographer <a href="https://www.artnews.com/t/lonnie-graham/" id="auto-tag_lonnie-graham" data-tag="lonnie-graham">Lonnie Graham</a>, who has been on the SFAI board since July, will take over her post effective immediately. The school also announced that John Marx had been named vice chair of the board.</p> <p>In a statement, Levy, who has served as board chair since 2018, said, &#8220;As SFAI begins to reimagine itself for a new era post-pandemic and actively recruits for fall 2021, Lonnie Graham is the perfect candidate for the role of Board Chair.&#8221;</p> <p>Last year, the nearly 150-year-old art school made headlines because it claimed that it faced the possibility of permanent closure due to Covid-19 and declining enrollment. Levy and Gordon Knox, the school&#8217;s president, said in April 2020 that there was &#8220;no clear path forward&#8221; for the school, which has produced a number of notable alumni, including Annie Leibovitz, Catherine Opie, and Kehinde Wiley. (Knox has since resigned.) Then, in August, the school announced that it would, in fact, begin offering classes once more.</p> <p>But the controversy did not end there. Staff members alleged that the school&#8217;s leaders had severely mismanaged SFAI, potentially spelling financial disaster. Earlier this month, the school reportedly tried to sell a famed Diego Rivera mural estimated to be worth $50 million with the hope paying off $19.7 million in debt, angering art historians, current and former students, and staff alike. After the outcry, the mural was eventually classed as a landmark by the San Francisco Board of Supervisors, rendering SFAI unable to part with the work.</p> <p>Graham was an adjunct faculty member at SFAI in 2002 and 2016. He is the director of the PhotoAlliance, a San Francisco–based photography organization, and a photography professor at Pennsylvania State University.</p> <p>In a statement, he said, &#8220;As we move forward, I would like to see the San Francisco Art Institute continue to cultivate and sustain experimentation and innovation in the fine arts as we imagine an inclusive and collaborative educational environment.”</p> <p>On Friday, as part of the a 150th anniversary initiative, SFAI said it would launch a scholarship program that would offer funding to 50 students from &#8220;underserved backgrounds.&#8221; Julie Wainwright, founder and CEO of the RealReal, gifted money to make the program possible, and the school aims to raise between $8 million and $10 million that would also go toward the scholarships. It will begin offer the scholarships to students applying to matriculate in the fall semester this year.</p> The Internet Can’t Get Enough of Bundled-up Bernie Memes https://hyperallergic.com/616479/bundled-up-bernie-memes/ Hyperallergic urn:uuid:3e6ac698-751b-344e-4546-45e9182a8c6c Fri, 22 Jan 2021 22:09:28 +0100 <figure><img width="720" height="893" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?fit=720%2C893&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?resize=720%2C893&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?resize=768%2C953&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?resize=706%2C876&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616641" data-permalink="https://hyperallergic.com/616479/bundled-up-bernie-memes/the-scream-bernie-hyperallergic-jasmine-weber/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?fit=1200%2C1489&amp;quality=100&amp;ssl=1" data-orig-size="1200,1489" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;B\u00f8rre H\u00f8stland&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;Nasjonalmuseet for kunst, arkitektur og design\/The National Museum of Art, Architecture and Design&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="the scream bernie hyperallergic jasmine weber" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?fit=720%2C893&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?fit=780%2C968&amp;quality=100&amp;ssl=1" /></figure>Due to overwhelming demand, we bring you a fresh batch of viral mitten-clad Bernie memes. <figure><img width="720" height="893" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?fit=720%2C893&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?resize=720%2C893&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?resize=768%2C953&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?resize=706%2C876&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616641" data-permalink="https://hyperallergic.com/616479/bundled-up-bernie-memes/the-scream-bernie-hyperallergic-jasmine-weber/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?fit=1200%2C1489&amp;quality=100&amp;ssl=1" data-orig-size="1200,1489" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;B\u00f8rre H\u00f8stland&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;Nasjonalmuseet for kunst, arkitektur og design\/The National Museum of Art, Architecture and Design&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="the scream bernie hyperallergic jasmine weber" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?fit=720%2C893&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/the-scream-bernie-hyperallergic-jasmine-weber.jpg?fit=780%2C968&amp;quality=100&amp;ssl=1" /></figure> <p>Due to overwhelming demand, we bring you a fresh batch of viral bundled-up Bernie memes, which took the internet by storm after Joe Biden and Kamala Harris&#8217;s inaugurations. &nbsp;</p> <p>It&#8217;s now clear that the senator from Vermont emerged as the indisputable star of the inauguration ceremony on Wednesday, January 20. His modest appearance at the ceremony in a quotidian&nbsp;winter jacket and adorable fair isle mittens charmed and amused the public. </p> <p>The web immediately exploded with a flurry of memes superimposing the image of Sanders bundled up in his chair in DC&#8217;s biting cold onto famous artworks, movie scenes, and various pop-culture tropes. </p> <figure class="wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="en" dir="ltr">Nighthawks at the Diner<a href="https://twitter.com/hashtag/BernieSanders?src=hash&amp;ref_src=twsrc%5Etfw">#BernieSanders</a> <a href="https://t.co/EAViyf9quX">pic.twitter.com/EAViyf9quX</a></p>&mdash; <img src="https://s.w.org/images/core/emoji/13.0.1/72x72/2b55.png" alt="⭕" class="wp-smiley" style="height: 1em; max-height: 1em;" /> (@011media) <a href="https://twitter.com/011media/status/1352163323115040768?ref_src=twsrc%5Etfw">January 21, 2021</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div></figure> <figure class="wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="en" dir="ltr"><a href="https://twitter.com/hashtag/BernieSanders?src=hash&amp;ref_src=twsrc%5Etfw">#BernieSanders</a> was there at the Last Supper <a href="https://twitter.com/hashtag/BidenInauguration?src=hash&amp;ref_src=twsrc%5Etfw">#BidenInauguration</a> <a href="https://t.co/MjN5YXNaFg">pic.twitter.com/MjN5YXNaFg</a></p>&mdash; Bahadur 2.0 (@my2bit) <a href="https://twitter.com/my2bit/status/1352117172017893376?ref_src=twsrc%5Etfw">January 21, 2021</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div></figure> <p>An entire genre of Bernie-themed art historical memes had emerged, positioning the chilly legislator inside known masterpieces including Leonardo&nbsp;da Vinci&#8217;s &#8220;The Last Supper&#8221; and Edward Hopper&#8217;s &#8220;Nighthawks&#8221; (1942). In fact, one of the widely shared memes was made by our own news editor Jasmine Weber, featuring the senator among the park-goers in Georges Seurat&#8217;s 1884 painting &#8220;A Sunday on La Grande Jatte.&#8221; </p> <figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper"> <blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/p/CKWqHU1ljc6/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="13" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/p/CKWqHU1ljc6/?utm_source=ig_embed&amp;utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; 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font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;"> View this post on Instagram</div></div><div style="padding: 12.5% 0;"></div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"><div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"></div> <div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"></div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"></div></div><div style="margin-left: 8px;"> <div style=" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"></div> <div style=" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)"></div></div><div style="margin-left: auto;"> <div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"></div> <div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"></div> <div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"></div></div></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div></div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/CKWqHU1ljc6/?utm_source=ig_embed&amp;utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Hyperallergic (@hyperallergic)</a></p></div></blockquote><script async src="//platform.instagram.com/en_US/embeds.js"></script> </div></figure> <p>In an appearance on <a href="https://www.youtube.com/watch?v=A7beCOs4yAw&amp;ab_channel=LateNightwithSethMeyers" target="_blank" rel="noreferrer noopener">Late Night with Seth Meyers</a> on Thursday, January 21, Sanders was asked if he knew of his current viral status. &#8220;I was just sitting there, trying to keep warm,&#8221; the senator answered, but confirmed that his staff had shown him the torrent of viral memes. Meyers continued with a question about the contents of the Manila envelope that the senator was carrying at the inauguration, to which Sanders replied: &#8220;It&#8217;s top secret.&#8221; </p> <figure class="wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="en" dir="ltr">And finally, Interior of a room with a young man seated at a table.<br><br>And Bernie. <a href="https://t.co/8sQsEfpgoh">pic.twitter.com/8sQsEfpgoh</a></p>&mdash; Ashmolean Museum (@AshmoleanMuseum) <a href="https://twitter.com/AshmoleanMuseum/status/1352284688791064579?ref_src=twsrc%5Etfw">January 21, 2021</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div></figure> <figure class="wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="en" dir="ltr">The internet really can be magical <a href="https://t.co/Jrwkj2twii">pic.twitter.com/Jrwkj2twii</a></p>&mdash; Ashley Holub, PhD (@ashtroid22) <a href="https://twitter.com/ashtroid22/status/1352079682137583616?ref_src=twsrc%5Etfw">January 21, 2021</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div></figure> <p>Meanwhile, Jen Ellis, the Vermont teacher who received national attention for making the mittens and gifting them to Sanders about two years ago, reported being inundated with mitten orders and interview requests. &#8220;I think my Gmail has crashed now,&#8221; she told <a href="https://slate.com/human-interest/2021/01/bernie-sanders-inauguration-mittens-vermont-teacher-interview.html" target="_blank" rel="noreferrer noopener">Slate</a>. </p> <p>Ellis, who teaches second graders, said that she had more important responsibilities to attend to: &#8220;My report cards are due tomorrow, so I need to focus on some other things until the weekend, when this will probably not be a thing anymore.&#8221;</p> <p>Contrary to previous reports, Ellis clarified that the mittens are not knit but instead &#8220;sewn from repurposed and up-cycled sweaters.&#8221; She also had some bad news: she already sold out her inventory of about 40 pairs and won&#8217;t be making any more. </p> <figure class="wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="en" dir="ltr">The Bernie meme stops now&#8230;.<img src="https://s.w.org/images/core/emoji/13.0.1/72x72/1f923.png" alt=" Trimmed in Gold, Ceramic Vessels by Artist Yurim Gough Challenge Notions of Gender https://www.thisiscolossal.com/2021/01/yurim-gough-ceramic-bowls/ Colossal urn:uuid:abf7c0c7-35d2-fd98-9b34-78f8f6c1d280 Fri, 22 Jan 2021 20:58:56 +0100 Through nine ceramic bowls, <a href="http://yurimgough.com/" target="_blank" rel="noopener">Yurim Gough</a> untangles the complex narratives surrounding performance, appearance, and gender fluidity. Her identity-centric pieces—which are infused with layers of pencil renderings, thread, and other materials that can require nearly a dozen rounds of firing at multiple temperatures to complete—depict figures outfitted with ostentatious costumes and elaborately painted faces. Drawing on aspects of queer culture, Gough&#8217;s vessels are disruptive and revisionary, simultaneously exposing the dated and constructed nature of traditional gender categories while reveling in the history of those who&#8217;ve subverted norms. <span class="more"><a href="https://www.thisiscolossal.com/2021/01/yurim-gough-ceramic-bowls/">More</a></span> <div id="attachment_139994" style="width: 2010px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-139994" loading="lazy" class="wp-image-139994 size-full" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1.jpg" alt="" width="2000" height="2000" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-640x640.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-960x960.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-150x150.jpg 150w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-1536x1536.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-624x624.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-50x50.jpg 50w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-640x640@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-960x960@2x.jpg 1920w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-1-150x150@2x.jpg 300w" sizes="(max-width: 2000px) 100vw, 2000px" /><p id="caption-attachment-139994" class="wp-caption-text">All images courtesy of Paradigm Gallery, shared with permission</p></div> <p>Through nine ceramic bowls, <a href="http://yurimgough.com/" target="_blank" rel="noopener">Yurim Gough</a> untangles the complex narratives surrounding performance, appearance, and gender fluidity. Her identity-centric pieces—which are infused with layers of pencil renderings, thread, and other materials that can require nearly a dozen rounds of firing at multiple temperatures to complete—depict figures outfitted with ostentatious costumes and elaborately painted faces. Drawing on aspects of queer culture, Gough&#8217;s vessels are disruptive and revisionary, simultaneously exposing the dated and constructed nature of traditional gender categories while reveling in the history of those who&#8217;ve subverted norms.</p> <p>Gough&#8217;s gold-trimmed collection will be on view as part of <em>Salvage</em>, a group exhibition curated by Colossal’s Founder and Editor-in-Chief <a href="https://www.thisiscolossal.com/author/cjobson/" target="_blank" rel="noopener noreferrer">Christopher Jobson</a> at <a href="https://www.paradigmarts.org/" target="_blank" rel="noopener noreferrer">Paradigm Gallery + Studio</a> in Philadelphia. Opening tonight, January 22, <em>Salvage </em>shares how artists are revitalizing fragments of tradition and culture that were destined to be lost, relegated to the periphery, or buried forever. The exhibition opens with a live talk with Jobson, Gough, André Schulze (<a href="https://www.thisiscolossal.com/2021/01/andre-schulze-paintings/">previously</a>), and Debra Broz (<a href="https://www.thisiscolossal.com/?s=Debra+Broz">previously</a>)—tickets are available on <a href="https://www.eventbrite.com/e/salvage-opening-and-live-qa-with-the-curator-and-artists-tickets-136459737749" target="_blank" rel="noopener noreferrer">Eventbrite</a>—and runs through February 20.</p> <p>Now based in the U.K., the South Korean artist has a background in fashion. Explore more of her work, which includes a variety of self-portraiture and considerations of contemporary culture, on <a href="http://yurimgough.com/" target="_blank" rel="noopener">her site</a> and <a href="https://www.instagram.com/yurimgough/?hl=en" target="_blank" rel="noopener">Instagram</a>.</p> <p>&nbsp;</p> <p><img loading="lazy" class="alignnone size-full wp-image-139995" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2.jpg" alt="" width="2000" height="2000" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-640x640.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-960x960.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-150x150.jpg 150w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-1536x1536.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-624x624.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-50x50.jpg 50w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-640x640@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-960x960@2x.jpg 1920w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-2-150x150@2x.jpg 300w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139996" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-3.jpg" alt="" width="2000" height="972" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-3.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-3-640x311.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-3-960x467.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-3-1536x746.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-3-624x303.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-3-640x311@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-3-960x467@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139997" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4.jpg" alt="" width="2000" height="2000" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-640x640.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-960x960.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-150x150.jpg 150w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-1536x1536.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-624x624.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-50x50.jpg 50w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-640x640@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-960x960@2x.jpg 1920w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-4-150x150@2x.jpg 300w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139998" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-5.jpg" alt="" width="1400" height="1050" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-5.jpg 1400w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-5-640x480.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-5-960x720.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-5-624x468.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-5-280x210.jpg 280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-5-285x214.jpg 285w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-5-640x480@2x.jpg 1280w" sizes="(max-width: 1400px) 100vw, 1400px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139999" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-6.jpg" alt="" width="2000" height="1326" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-6.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-6-640x424.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-6-960x636.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-6-1536x1018.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-6-624x414.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-6-640x424@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-6-960x636@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-140000" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7.jpg" alt="" width="2000" height="2000" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-640x640.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-960x960.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-150x150.jpg 150w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-1536x1536.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-624x624.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-50x50.jpg 50w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-640x640@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-960x960@2x.jpg 1920w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-7-150x150@2x.jpg 300w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-140001" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8.jpg" alt="" width="2000" height="1500" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8-640x480.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8-960x720.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8-1536x1152.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8-624x468.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8-280x210.jpg 280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8-285x214.jpg 285w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8-640x480@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-8-960x720@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-140002" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9.jpg" alt="" width="2000" height="2000" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-640x640.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-960x960.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-150x150.jpg 150w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-1536x1536.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-624x624.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-50x50.jpg 50w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-640x640@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-960x960@2x.jpg 1920w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/yurim-9-150x150@2x.jpg 300w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> City of London Votes to Remove Statues of Two Politicans Linked to the Slave Trade https://www.artnews.com/art-news/news/city-of-london-politican-statue-removals-slave-trade-1234581989/ ARTnews.com urn:uuid:ce968477-7f75-5187-f7ef-b69726631227 Fri, 22 Jan 2021 20:35:56 +0100 A task force is already brainstorming replacements. <p>The <a href="https://www.artnews.com/t/city-of-london/" id="auto-tag_city-of-london" data-tag="city-of-london">City of London</a> Corporation, which manages London&#8217;s historic center and financial hub, has voted to remove two monuments to British politicians linked to the transatlantic slave trade. The statue of <a href="https://www.artnews.com/t/william-beckford/" id="auto-tag_william-beckford" data-tag="william-beckford">William Beckford</a>, a two-time mayor of London who made his fortune in plantations in Jamaica in the late 1700s, will reportedly be re-sited and replaced with a new work. The monument to Sir <a href="https://www.artnews.com/t/john-cass/" id="auto-tag_john-cass" data-tag="john-cass">John Cass</a>, a 17th-century member of Parliament, philanthropist, and merchant who profited from the Royal African Company, a major force in the slave economy, will be returned to the Sir John Cass Foundation. His name has already been stripped from the City University of London’s business school.</p> <p>The vote follows an announcement from the U.K. government of laws intended to safeguard historic monuments in England. According to a <a href="https://www.theartnewspaper.com/news/slave-trade-statues-in-historic-city-of-london-headquarters-to-be-taken-down" target="_blank" rel="noopener nofollow" >report</a> in <em>the Art Newspaper</em>, the proposed plans would require individuals to obtain &#8220;building consent or planning permission&#8221; before removing any of the nation&#8217;s 12,000 historic statues. If approved, the law will come into effect in March. In the wake of the Black Lives Matter protests last summer, monuments worldwide have come under scrutiny for perpetuating racist legacies. In Bristol, a statue of 17th-century slave trader Edward Colston was toppled by protestors and dumped into the city harbor.</p> <div>In response to the global protests, the City of London Corporation convened a task force to assess the legacies of the monuments and landmarks through its historic square mile. The group recommended the removal of the the Beckford and Cass statues which decorate its municipal Guildhall building, a decision that may now meet opposition from the U.K. government. The building is also a grade one-listed building, a designation given to structures of historical importance, meaning any alterations to the property will require planning permissions.</div> <div></div> <div>In the meantime, a new working group will begin brainstorming suitable replacements for the Beckford statue and audit “street names and other cultural items that are associated with historic acts of racism,&#8221; according to a task force document reviewed by <em>the Art Newspaper</em>. Catherine McGuinness, City of London Corporation Policy Chair, said in a statement: &#8220;The view of members was that removing and re-siting statues linked to slavery is an important milestone in our journey towards a more inclusive and diverse City.”</div> supersonicart:SupersonicArt.Shop!Jumpstart your art collection... https://supersonicart.com/post/641040217810272256 SUPERSONIC ART urn:uuid:e9e5e3f7-015d-fe6c-cc1b-7975c4896c59 Fri, 22 Jan 2021 20:26:31 +0100 <img src="https://64.media.tumblr.com/3282c142bbec99271fd601d78594f0b9/9b863c3e85dc5754-35/s500x750/063f923e3d74cfa7df4efbde6365810ac4a757c2.png"/><br/> <br/><img src="https://64.media.tumblr.com/3e8d5403bf0163796367e3b810f0d150/9b863c3e85dc5754-d4/s500x750/b0476b536f169d21e90bd4f8a0314500327bc887.png"/><br/> <br/><img src="https://64.media.tumblr.com/e93e55ecdeace34ed0cd88585627fdc6/9b863c3e85dc5754-36/s500x750/e9b9fdfacf0ef4ea5e9c69b449a299c17741ab87.png"/><br/> <br/><img src="https://64.media.tumblr.com/3a301b39c406e3c26a46a4c24231da70/9b863c3e85dc5754-73/s500x750/9ed5aa700021eb530a5580bbc7364bb2eff45c92.png"/><br/> <br/><img src="https://64.media.tumblr.com/585cb2ebcaccade86e14980c88708d09/9b863c3e85dc5754-72/s500x750/0e33c0926c7c62d06ac3d4c92940f951cc72a5cd.png"/><br/> <br/><img src="https://64.media.tumblr.com/3da02c4664dab7e728f3c1c8493f3db8/9b863c3e85dc5754-dd/s500x750/47c780ce328c31b2b1fda460fd8cbf053c3e6d3e.png"/><br/> <br/><img src="https://64.media.tumblr.com/74b8de12a71b37ee1e00af6066e442a5/9b863c3e85dc5754-7c/s500x750/194cbd895c483194ee93f4900485ee4d474e0e92.png"/><br/> <br/><img src="https://64.media.tumblr.com/f8af0bd617e43a8313466091a3b45044/9b863c3e85dc5754-24/s500x750/32ac8cd26ee606713bb3d69b4faba81f0fc3f81b.png"/><br/> <br/><img src="https://64.media.tumblr.com/373e540eb555ebd3d672b23aacd57222/9b863c3e85dc5754-ec/s500x750/881f3fc6de87c493921a10b025115649d9fdf821.png"/><br/> <br/><img src="https://64.media.tumblr.com/a9ebba6ec987c1e7c5dc6ce306063a23/9b863c3e85dc5754-07/s500x750/e7c0de10538839cc46902e618efb5275bb3b64e7.png"/><br/> <br/><p><a href="https://supersonicart.com/post/640759961314639872/supersonicartshop-jumpstart-your-art-collection" class="tumblr_blog" target="_blank">supersonicart</a>:</p><blockquote><h2><a href="http://bit.ly/SupersonicArtShop" target="_blank">SupersonicArt.Shop!</a></h2><p>Jumpstart your art collection with rare and collectible work available on <a href="http://bit.ly/SupersonicArtShop" target="_blank">SupersonicArt.Shop</a>!</p></blockquote> Blitz by Ferran Petit https://www.kaltblut-magazine.com/blitz-by-ferran-petit/ KALTBLUT Magazine urn:uuid:2a8bbaa0-b934-d9b8-c859-ebd602990557 Fri, 22 Jan 2021 19:45:01 +0100 <p><strong>A KALTBLUT exclusive. Photographer Ferran Petit teamed with stylist Elia Siverio and hairstylist Noelia Gallardo to create this </strong>&#8230;</p> Copy of Salvator Mundi Discovered In Naples Apartment https://hyperallergic.com/616481/copy-of-salvator-mundi-discovered-in-naples-apartment/ Hyperallergic urn:uuid:eaf31f21-3eb7-2643-7879-067cc0533656 Fri, 22 Jan 2021 19:41:25 +0100 <figure><img width="720" height="542" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?fit=720%2C542&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?w=1500&amp;quality=100&amp;ssl=1 1500w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=720%2C542&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=1200%2C904&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=768%2C579&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=400%2C300&amp;quality=100&amp;ssl=1 400w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=200%2C150&amp;quality=100&amp;ssl=1 200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=706%2C532&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616538" data-permalink="https://hyperallergic.com/616481/copy-of-salvator-mundi-discovered-in-naples-apartment/leonardo-mundi/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?fit=1500%2C1130&amp;quality=100&amp;ssl=1" data-orig-size="1500,1130" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Leonardo Mundi" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?fit=720%2C542&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?fit=780%2C588&amp;quality=100&amp;ssl=1" /></figure>The 500-year-old painting, likely the work of a student of Leonardo, was found in a bedroom cupboard in the southern Italian city. <figure><img width="720" height="542" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?fit=720%2C542&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?w=1500&amp;quality=100&amp;ssl=1 1500w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=720%2C542&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=1200%2C904&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=768%2C579&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=400%2C300&amp;quality=100&amp;ssl=1 400w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=200%2C150&amp;quality=100&amp;ssl=1 200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?resize=706%2C532&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616538" data-permalink="https://hyperallergic.com/616481/copy-of-salvator-mundi-discovered-in-naples-apartment/leonardo-mundi/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?fit=1500%2C1130&amp;quality=100&amp;ssl=1" data-orig-size="1500,1130" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Leonardo Mundi" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?fit=720%2C542&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Leonardo-Mundi.jpg?fit=780%2C588&amp;quality=100&amp;ssl=1" /></figure> <p>In 2017, Leonardo da Vinci&#8217;s &#8220;<a target="_blank" href="https://hyperallergic.com/412022/leonardo-da-vincis-salvator-mundi-sells-400-million/" rel="noreferrer noopener">Salvator Mundi</a>&#8221; fetched $450.3 million at a Christie&#8217;s auction, becoming the most expensive artwork ever sold. This week, a 500-year-old copy of the work, likely painted by a student of Leonardo, was&nbsp;<a target="_blank" href="https://www.ansa.it/english/news/lifestyle/arts/2021/01/18/stolen-leonardo-school-painting-found-in-naples-flat_50488eaa-9880-4695-b879-92b00b4cddac.html" rel="noreferrer noopener">discovered</a>&nbsp;in the relative obscurity of a bedroom cupboard in a Naples apartment. The museum it was stolen from was apparently unaware it had been missing.</p> <p>The 15th-century work belongs to the Doma Museum of the Basilica di San Domenico Maggiore in the southern Italian city. Naples prosecutor Giovanni Melillo told the&nbsp;<a target="_blank" href="https://www.theguardian.com/world/2021/jan/19/police-find-stolen-copy-leonardo-da-vinci-salvator-mundi-naples-flat" rel="noreferrer noopener">Agence France-Presse</a>&nbsp;that the room where the painting was kept had not been opened for three months due to forced shutdowns imposed by the COVID-19 pandemic. Authorities found no signs of a break-in and could not determine how or when the piece was taken.</p> <p>Police&nbsp;<a target="_blank" href="https://apnews.com/article/coronavirus-pandemic-naples-050b6f4287879bb5214389e4ce2576df" rel="noreferrer noopener">arrested</a>&nbsp;the apartment&#8217;s 36-year-old tenant on suspicion of possessing stolen property, describing his story of purchasing the painting at a flea market as &#8220;less than credible.&#8221;</p> <p>&#8220;Whoever took the painting wanted it, and it plausible that it was a commissioned theft by an organization working in the international art trade,&#8221; Melillo said.</p> <p>The San Domenico Maggiore copy of the Renaissance masterpiece has been happily returned to the church&#8217;s Muscettola Chapel from where it was inconspicuously stolen.&nbsp;</p> <p>Meanwhile, however, the whereabouts of the original &#8220;Salvator Mundi&#8221; (whose attribution to Leonardo has been&nbsp;<a target="_blank" href="https://hyperallergic.com/454830/leonardo-had-help-oxford-art-historian-asserts-new-attribution-for-salvator-mundi/" rel="noreferrer noopener">contested</a>)&nbsp;<a target="_blank" href="https://www.nytimes.com/2019/03/30/arts/design/salvator-mundi-louvre-abu-dhabi.html" rel="noreferrer noopener">remain unknown</a>. The controversial work was acquired at Christie&#8217;s by an anonymous bidder who was later revealed to be an ally of Saudi Arabia Crown Prince Mohammed bin Salman. It was slated to be exhibited at the Louvre Abu Dhabi, but the museum abruptly canceled the exhibition in 2018, and the painting has not been publicly seen since the sale. Some have&nbsp;<a target="_blank" href="https://www.cnn.com/style/article/salvator-mundi-leonardo-da-vinci-whereabouts/index.html" rel="noreferrer noopener">theorized</a>&nbsp;that the work is sitting in storage in Geneva or on bin Salman&#8217;s private yacht.</p> <p>Perhaps someone should check the cupboard.</p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=nmFrdTu4qdQ:nUePfZ8mkvc:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=nmFrdTu4qdQ:nUePfZ8mkvc:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=nmFrdTu4qdQ:nUePfZ8mkvc:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=nmFrdTu4qdQ:nUePfZ8mkvc:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/nmFrdTu4qdQ" height="1" width="1" alt=""/> Artful Weekend January 23-24 http://www.theartleague.org/blog/2021/01/22/artful-weekend-january-23-24/ Blog – The Art League urn:uuid:13ca52e5-64fd-1451-11a0-547242570a8d Fri, 22 Jan 2021 19:36:11 +0100 <p>Welcome to Artful Weekend, our guide to fun and interesting ways to enjoy and engage in art as you shelter-in-place or practice social distancing.  &#160; This weekend: January exhibitions at the League; color and form at Gallery Neptune &#38; Brown; seeing red at Washington Printmakers Gallery; and more! &#160; &#160; January Exhibitions at The Art League [&#8230;]</p> <p>The post <a rel="nofollow" href="http://www.theartleague.org/blog/2021/01/22/artful-weekend-january-23-24/">Artful Weekend January 23-24</a> appeared first on <a rel="nofollow" href="http://www.theartleague.org">The Art League</a>.</p> <p><em>Welcome to Artful Weekend, our guide to fun and interesting ways to enjoy and engage in art as you shelter-in-place or practice social distancing. </em></p> <h3></h3> <p>&nbsp;</p> <h3><strong>This weekend: </strong>January exhibitions at the League; color and form at Gallery Neptune &amp; Brown; seeing red at Washington Printmakers Gallery; and more!</h3> <p>&nbsp;</p> <p>&nbsp;</p> <h4><strong>January Exhibitions at The Art League</strong></h4> <p>&nbsp;</p> <h4>January 2021 Open Exhibition</h4> <figure id="attachment_87401" class="wp-caption aligncenter" aria-describedby="caption-attachment-87401"><figcaption id="caption-attachment-87401" class="wp-caption-text"> <figure id="attachment_87561" class="wp-caption aligncenter" aria-describedby="caption-attachment-87561"><figcaption id="caption-attachment-87561" class="wp-caption-text"> <figure id="attachment_87665" aria-describedby="caption-attachment-87665" style="width: 914px" class="wp-caption aligncenter"><img loading="lazy" class="wp-image-87665 size-full" src="http://www.theartleague.org/wp-content/uploads/Guido-Zanni-Jan-Open-2021-1.jpg" alt="" width="914" height="960" srcset="http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Guido-Zanni-Jan-Open-2021-1.jpg 914w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Guido-Zanni-Jan-Open-2021-1-286x300.jpg 286w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Guido-Zanni-Jan-Open-2021-1-768x807.jpg 768w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Guido-Zanni-Jan-Open-2021-1-600x630.jpg 600w" sizes="(max-width: 914px) 100vw, 914px" /><figcaption id="caption-attachment-87665" class="wp-caption-text">&#8220;Red Clouds&#8221; by Guido Zanni</figcaption></figure> </figcaption></figure> </figcaption></figure> <p>This month’s group exhibition, juried by contemporary and performance artist <a href="http://greggdeal.com/">Gregg Deal</a>, features an array of artworks in mediums ranging from drawings and paintings to glassworks, mixed media sculpture, photography and printmaking. It is on view in the Gallery, Wednesday-Saturday 11:00 a.m. to 5:00 p.m. and Sunday noon-5:00 p.m., through Sunday, January 24. <strong>[Note: The Gallery will be closed Sunday, January 18 and Wednesday, January 20.]</strong> You can also <a href="https://www.theartleague.org/gallery/exhibits/">view the exhibit online</a>.</p> <p>&nbsp;</p> <p>&nbsp;</p> <h4>Patrick Kirwin: I<em> Need Tromp L’Oeil</em></h4> <p><img loading="lazy" class="aligncenter wp-image-87666 size-full" src="http://www.theartleague.org/wp-content/uploads/Screen-Shot-2021-01-14-at-4.03.56-PM-copy.jpg" alt="" width="838" height="557" srcset="http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-14-at-4.03.56-PM-copy.jpg 838w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-14-at-4.03.56-PM-copy-300x199.jpg 300w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-14-at-4.03.56-PM-copy-768x510.jpg 768w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-14-at-4.03.56-PM-copy-391x260.jpg 391w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-14-at-4.03.56-PM-copy-600x399.jpg 600w" sizes="(max-width: 838px) 100vw, 838px" /></p> <p>Painter Patrick Kirwin brings a lively, contemporary twist to the rich tradition of trompe l’oeil artwork. His large-scale paintings offer humorous, thoughtful observations of our modern world. The exhibit will be on view at The Art League gallery January 7, 2021 through January 24, 2021. Kirwin will be in conversation as part of The Art League’s Solo Artists Series, Friday, January 22 from 6:00 to 7:00 via Zoom. <a href="https://www.eventbrite.com/e/solo-artist-series-a-conversation-with-patrick-kirwin-tickets-136339211251?aff=eemailordconf&amp;utm_campaign=order_confirm&amp;utm_medium=email&amp;ref=eemailordconf&amp;utm_source=eventbrite&amp;utm_term=viewevent">Click here to RSVP</a>.</p> <p>&nbsp;</p> <p>&nbsp;</p> <h4>David X Levine: <em>Color + Form = X</em></h4> <figure id="attachment_87667" aria-describedby="caption-attachment-87667" style="width: 798px" class="wp-caption aligncenter"><img loading="lazy" class="wp-image-87667 size-full" src="http://www.theartleague.org/wp-content/uploads/Screen-Shot-2021-01-22-at-9.57.10-AM.png" alt="" width="798" height="607" srcset="http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-22-at-9.57.10-AM.png 798w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-22-at-9.57.10-AM-300x228.png 300w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-22-at-9.57.10-AM-768x584.png 768w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-22-at-9.57.10-AM-600x456.png 600w" sizes="(max-width: 798px) 100vw, 798px" /><figcaption id="caption-attachment-87667" class="wp-caption-text">&#8220;Michael Linick is eating my kitchen and I never thanked him&#8221; by David X Levine</figcaption></figure> <p>In his second solo exhibition at <a href="http://www.galleryneptunebrown.com/2021-david-x-levine">Gallery Neptune &amp; Brown</a>, New York-based artist, David X Levine, presents a fresh perspective on his work&#8211;ripe with nostalgia, an appreciation of pop culture, and a devotion to the infinity of color. <a href="https://view.publitas.com/gallery-neptune-brown/david-x-levine-e-catalogue-rom73e36yyd4/page/1">View it online</a>, or in person; Gallery Neptune &amp; Brown, 1530 14th Street, NW.</p> <p>&nbsp;</p> <p>&nbsp;</p> <h4><em>2020: Time for Change</em></h4> <figure id="attachment_87669" aria-describedby="caption-attachment-87669" style="width: 656px" class="wp-caption aligncenter"><img loading="lazy" class="wp-image-87669 size-full" src="http://www.theartleague.org/wp-content/uploads/Screen-Shot-2021-01-22-at-11.41.46-AM.png" alt="" width="656" height="678" srcset="http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-22-at-11.41.46-AM.png 656w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-22-at-11.41.46-AM-290x300.png 290w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Screen-Shot-2021-01-22-at-11.41.46-AM-600x620.png 600w" sizes="(max-width: 656px) 100vw, 656px" /><figcaption id="caption-attachment-87669" class="wp-caption-text">&#8220;Love Birds&#8221; by Winston Harris; hand colored mixed medium collage watercolor with mono-print</figcaption></figure> <p><a href="https://www.studiogallerydc.com/">Studio Gallery</a> begins 2021 with a moving exhibition by guest artist, Winston Harris. <em>2020: Time for Change.</em> It consists selections from Harris&#8217; digital photo collage series, <em>In My Lifetime—a</em> celebration of “commemorative events in American history, especially significant to African American history and culture”—and his digital print series <em>American Made, </em>a reflection of the rich diversity in the United States. View it in person (no more than 5 guests in the gallery at one time) or <a href="https://www.studiogallerydc.com/2020-time-for-change-winston-harris">online</a>; Studio Gallery, 2108 R Street, NW.</p> <p>&nbsp;</p> <p>&nbsp;</p> <h4><em>RED</em></h4> <figure id="attachment_87670" aria-describedby="caption-attachment-87670" style="width: 537px" class="wp-caption aligncenter"><img loading="lazy" class="wp-image-87670 size-full" src="http://www.theartleague.org/wp-content/uploads/CiliadeAmicis-Flamenco.jpg" alt="" width="537" height="930" srcset="http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/CiliadeAmicis-Flamenco.jpg 537w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/CiliadeAmicis-Flamenco-173x300.jpg 173w" sizes="(max-width: 537px) 100vw, 537px" /><figcaption id="caption-attachment-87670" class="wp-caption-text">&#8220;Flamenco&#8221; by Marie-B Cilia de Amicis; Archival Epson Legacy Etching</figcaption></figure> <p>The artists of <a href="https://www.washingtonprintmakers.com/">Washington Printmakers Gallery</a> explore the color red – how to use it, how to shape it, and how to interpret the many things this vibrant hue connotes. <a href="https://www.washingtonprintmakers.com/exhibits-list/red-winter-2021">View the exhibit online</a>, or in person; Washington Printmakers Gallery, 1641 Wisconsin Ave. NW</p> <p>&nbsp;</p> <p>&nbsp;</p> <h4><em>New Beginnings</em></h4> <p><img loading="lazy" class="aligncenter wp-image-87671 size-large" src="http://www.theartleague.org/wp-content/uploads/Jane-Coonce.Dining-Under-the-white-umbrella.watercolor-704x1024.jpg" alt="" width="704" height="1024" srcset="http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Jane-Coonce.Dining-Under-the-white-umbrella.watercolor-704x1024.jpg 704w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Jane-Coonce.Dining-Under-the-white-umbrella.watercolor-206x300.jpg 206w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Jane-Coonce.Dining-Under-the-white-umbrella.watercolor-768x1117.jpg 768w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Jane-Coonce.Dining-Under-the-white-umbrella.watercolor-1056x1536.jpg 1056w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Jane-Coonce.Dining-Under-the-white-umbrella.watercolor-1407x2048.jpg 1407w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Jane-Coonce.Dining-Under-the-white-umbrella.watercolor-600x873.jpg 600w, http://2dhxan22dycl3cocpm3lec18.wpengine.netdna-cdn.com/wp-content/uploads/Jane-Coonce.Dining-Under-the-white-umbrella.watercolor-scaled.jpg 1759w" sizes="(max-width: 704px) 100vw, 704px" /></p> <p>Arlington Artists Alliance members were asked to create works that represented their optimism for the coming year. The result: <em>New Beginnings, </em>a multimedia show of works intended to spark joy in the new year.</p> <p>Enjoy the weekend. Wear your mask.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>The post <a rel="nofollow" href="http://www.theartleague.org/blog/2021/01/22/artful-weekend-january-23-24/">Artful Weekend January 23-24</a> appeared first on <a rel="nofollow" href="http://www.theartleague.org">The Art League</a>.</p> Art’s 2020 In Review! http://artwolfe.com/2021/01/22/arts-2020-in-review/ Art Wolfe urn:uuid:33840d69-7650-c35c-9fb7-9932f7700230 Fri, 22 Jan 2021 19:22:34 +0100 One word, TEQUILA! Or two: TEQUILA TIME! We all did what we had to do to get through 2020 &#038; I chose to start my online happy hour with all of you. First episode was April 9th and it made the year much more bearable. I thank everyone who tuned in. After a break this<a class="moretag" href="http://artwolfe.com/2021/01/22/arts-2020-in-review/"> Read more...</a> <style>[data-ps-embed-type=slideshow] > iframe {position: absolute;top: 0;left: 0;}</style> <div style="position:relative;height:0 !important;padding-bottom: 75% !important;width:100% !important;" data-ps-embed-type="slideshow" data-ps-embed-gid="G00008b9LuFCVHDg"></div> <p><script src="https://www.artwolfestock.com/js/psEmbed.js"></script></p> <p><script>_psEmbed("https://www.artwolfestock.com");</script></p> <p>One word, TEQUILA!</p> <p>Or two: TEQUILA TIME! We all did what we had to do to get through 2020 &#038; I chose to start my online happy hour with all of you. First episode was April 9th and it made the year much more bearable. I thank everyone who tuned in. After a break this month I will be back on February 2nd with co-host Parimal Deshpande.</p> <p>While Tequila Time is an entertaining romp, I also teamed up with executive producer Parimal on a more ambitious project, Earth Is Our Witness. As photographers, our opportunity and distinction lies with the ability to tell powerful stories of interconnectedness. So far we have had conversations with over twenty photographers around the world, and we kicked off 2021 with Wade Davis!</p> <p>Enjoy the photos &#8211; and keep tuning in to Tequila Time &#038; Earth Is Our Witness in 2021!</p> Jonathan Lyndon Chase Uses Art as a Tool for Transformation and Healing https://www.artnews.com/art-news/artists/jonathan-lyndon-chase-fabric-workshop-1234581962/ ARTnews.com urn:uuid:7a8bd370-d4d2-b2c0-6db0-81503bd65e54 Fri, 22 Jan 2021 17:06:36 +0100 The artist is currently the subject of a solo exhibition at Fabric Workshop and Museum in Philadelphia. <p>Can a pair of boxer shorts help bring us closer together? That’s one question that artist <a href="https://www.artnews.com/t/jonathan-lyndon-chase/" id="auto-tag_jonathan-lyndon-chase" data-tag="jonathan-lyndon-chase">Jonathan Lyndon Chase</a> thought through as they were creating their latest exhibition, “Big Wash,” at the <a href="https://www.artnews.com/t/fabric-workshop-and-museum/" id="auto-tag_fabric-workshop-and-museum" data-tag="fabric-workshop-and-museum">Fabric Workshop and Museum</a> in Philadelphia, on view through June 6.</p> <p>Boxers form a recurring motif in the show&#8217;s canvases, soft sculpture, and installation elements, as well as an ongoing boxer exchange program that is meant to help create community and intimacy at a moment in which artists have had to design new ways of being together while having to be socially distanced.</p> <p>The show, Chase said in a recent video interview, is “bearing witness to transformation and to healing: water, being submerged, a wave washing over you.” It also draws heavily on the fashion and music videos of the early 2000s—“Mariah Carey was at her peak at that point,” they said—shortly after Chase came out in 1999. Other influences that Chase has drawn on throughout their career abound, like the work of Ghada Amer, Kehinde Wiley, Chris Ofili, and Barkley L. Hendricks, whom Chase sees as part of their “genealogy of figure making,” as well as the X-Men comic books and video games like Sonic, Crash Bandicoot, Final Fantasy, and Tomb Raider.</p> <div id="attachment_1234581968" style="width: 1034px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-1234581968" class="size-full wp-image-1234581968" src="https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_5775.jpg" alt="Jonathan Lyndon Chase, in collaboration with The Fabric Workshop and Museum, Philadelphia, Big Wash (exhibition view), 2020." width="1024" height="683" srcset="https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_5775.jpg 1200w, https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_5775.jpg?resize=400,267 400w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px" /><p id="caption-attachment-1234581968" class="wp-caption-text">Jonathan Lyndon Chase, in collaboration with The Fabric Workshop and Museum, Philadelphia, &#8220;Big Wash&#8221; (exhibition view), 2020.</p></div> <p>The boxers that appear in the exhibition and the exchange program were created as part of Chase’s recent residency at the Fabric Workshop. The show’s curator, Karen Patterson, met Chase shortly after moving to Philadelphia to take the job at the Fabric Workshop. As one of her first moves, she wanted to revive the Fabric Workshop’s residency program as a way for the museum to be more deeply connected to Philadelphia-based artists.</p> <p>“The roots of the Fabric Workshop when it started were these short-term screen-printing artist residencies,” Patterson said. “I wanted to see if contemporary artists were still as interested in learning and trying screen-printing to see how that might impact their practice.”</p> <p>Patterson conducted a studio visit Chase, who is based in in Philadelphia, where they were born and raised, toward the end of 2019. In Chase’s work, which typically takes the form of intimate portraits of Black queer people that include collaged elements, Patterson noticed that the artist was already working with “domestic textiles: sheets, towels, bedding, clothing,” and she subsequently invited Chase to be a resident artist.</p> <p>As part of the residency program, Chase worked with the museum’s technicians to create a fabric that drew inspiration from archival binders the artist uses to collect color swatches and poetry, as well as notes and sketches they make based on things they encounter. Chase then assembled the selected sketches onto a piece of Masonite before they were converted into several transparencies that would eventually be silkscreened over two 19-yard bolts of white fabric.</p> <div id="attachment_1234581970" style="width: 1034px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-1234581970" class="size-full wp-image-1234581970" src="https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_9849_LR.jpg" alt="Jonathan Lyndon Chase's 'Bending $ag', silk-screen printed yardage produced during their residency at the Fabric Workshop and Museum, 2019." width="1024" height="683" srcset="https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_9849_LR.jpg 1200w, https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_9849_LR.jpg?resize=400,267 400w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px" /><p id="caption-attachment-1234581970" class="wp-caption-text">Jonathan Lyndon Chase&#8217;s &#8220;Bending $ag&#8221;, silk-screen printed yardage produced during their residency at the Fabric Workshop and Museum, 2019.</p></div> <p>The resulting print is a collage of Chase’s signature portraits of queer Black people, who appear in the wings of orange butterflies next to roses of varying sizes, watches, musical notes, and squiggly lines over a deep periwinkle-blue background. The overall design is meant to evoke plaid boxer shorts.</p> <p>The butterflies are meant to evoke “love and romance” and symbolize “metamorphosis, mortality, and transness,” while the roses, Chase said, are “a metaphor for pleasure points on the body: nipples, lips, anus. Our mouths are actually the same material as our anus—they’re just like on the opposite ends. I like to draw that bodily correspondence together.”</p> <div id="attachment_1234581974" style="width: 410px" class="wp-caption alignright"><img aria-describedby="caption-attachment-1234581974" class="size-medium wp-image-1234581974" src="https://www.artnews.com/wp-content/uploads/2021/01/JLC_hesfinewithme_2020.jpg?w=400" alt="Jonathan Lyndon Chase, hes fine with me, 2020." width="400" height="526" srcset="https://www.artnews.com/wp-content/uploads/2021/01/JLC_hesfinewithme_2020.jpg 1200w, https://www.artnews.com/wp-content/uploads/2021/01/JLC_hesfinewithme_2020.jpg?resize=400,526 400w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px" /><p id="caption-attachment-1234581974" class="wp-caption-text">Jonathan Lyndon Chase, <em>hes fine with me</em>, 2020.</p></div> <p>Once the fabric was complete, Chase took much of it back to their studio to incorporate it in a new suite of paintings and soft sculptures for the upcoming exhibition. In some works, the fabric appear subtly, as collaged fragments, like in the soft sculpture <em>smellin gold rosebuds on my upper lip</em> (all works 2020). In several, they appear as the boxers for the painting’s subjects: peaking over a pair of sagged pants in <em>hes fine with me</em> or hanging out to dry in <em>Helping Hands</em>. Occasionally, the works have a voyeuristic quality, appearing in the background as a shower curtain, like in <em>Soapy Shower,</em> or as curtains pulled back to reveal an intimate scene of people in their apartment.</p> <p>One of the show’s largest paintings, measuring more than seven feet long and installed atop three bricks, is <em>hang up vibrating purse</em>, which shows a mostly nude figure looking over its shoulder. On their shoulder is a medium-sized handbag made from the blue and orange fabric, upon which Chase has collaged two red Motorola Razr flip phones (one open, one closed). &#8220;It has this incredible presence,” Patterson said.</p> <div id="attachment_1234581972" style="width: 1034px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-1234581972" class="size-full wp-image-1234581972" src="https://www.artnews.com/wp-content/uploads/2021/01/JLC_hangup_2020.jpg" alt="Jonathan Lyndon Chase, hang up vibrating purse, 2020." width="1024" height="1167" srcset="https://www.artnews.com/wp-content/uploads/2021/01/JLC_hangup_2020.jpg 1200w, https://www.artnews.com/wp-content/uploads/2021/01/JLC_hangup_2020.jpg?resize=400,456 400w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px" /><p id="caption-attachment-1234581972" class="wp-caption-text">Jonathan Lyndon Chase, <em>hang up vibrating purse</em>, 2020.</p></div> <p>The people depicted in Chase’s paintings are a combination of their husband, their chosen family, friends, fellow artists, and themself, while others the artist makes from their imagination.</p> <p>“I make work for queer people and Black people,” Chase said. “That is my first priority—it’s my only priority in that way. I’m not saying that anyone’s excluded, but my audience is my own people. I want them to feel seen. I think back to when I was young and not knowing there were Black artists because they teach you this very skewed and white-filled history.</p> <p>“For me,&#8221; Chase continued, &#8220;my work is a source to meditate and reflect and to think about different ways that you can exist. There’s not just option A or B. There’s so many ways that you can exist.”</p> <div id="attachment_1234581967" style="width: 1034px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-1234581967" class="size-full wp-image-1234581967" src="https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_5769.jpg" alt="Jonathan Lyndon Chase, in collaboration with The Fabric Workshop and Museum, Philadelphia, Big Wash (exhibition view), 2020." width="1024" height="683" srcset="https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_5769.jpg 1200w, https://www.artnews.com/wp-content/uploads/2021/01/FWM_JLC_5769.jpg?resize=400,267 400w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px" /><p id="caption-attachment-1234581967" class="wp-caption-text">Jonathan Lyndon Chase, in collaboration with The Fabric Workshop and Museum, Philadelphia, &#8220;Big Wash&#8221; (exhibition view), 2020.</p></div> <p>The installation for “Big Wash” also includes a central space resembling a laundromat, replete with black-and-white tiled floor, two yellow-painted washing machines, soft sculptures of sinks mounted to a wall, and three laundry carts connected by white string that hold boxer shorts made from Chase’s custom-designed fabric.</p> <p>“The laundromat has a really interesting dynamic between public and private,” Patterson said. “Essentially, you’re in a public space but you’re washing your intimates next to a stranger. There’s a charged energy that joins together at the laundromat. We wanted to make it feel like you had to traverse that space and question your body as it moves through different spaces.”</p> <div id="attachment_1234581975" style="width: 410px" class="wp-caption alignright"><img aria-describedby="caption-attachment-1234581975" class="size-medium wp-image-1234581975" src="https://www.artnews.com/wp-content/uploads/2021/01/JLC_Sadforecast_2020.jpg?w=400" alt="Jonathan Lyndon Chase, Sad forecast, 2020." width="400" height="388" srcset="https://www.artnews.com/wp-content/uploads/2021/01/JLC_Sadforecast_2020.jpg 1200w, https://www.artnews.com/wp-content/uploads/2021/01/JLC_Sadforecast_2020.jpg?resize=400,388 400w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px" /><p id="caption-attachment-1234581975" class="wp-caption-text">Jonathan Lyndon Chase, <em>Sad forecast</em>, 2020.</p></div> <p>Also key to the exhibition is a boxer exchange program in which Chase created men’s boxers out of the fabric designed in collaboration with the Fabric Workshop. Chase sent the boxers to a small initial group of friends, and the exchange is still ongoing. The boxers arrived in a box with instructions about the program, as well as baby’s breath (a symbol for love).</p> <p>“Now, more than ever, we’re so separated from each other, so I was thinking of different ways that we could connect with each other,” Chase said. “The isolation from everybody is just really painful, especially in times like this now, where you need to be there for each other.”</p> <p>Each participant is to wear the boxers for about a week and during that time document their “day-to-day, mundane activities—whatever they want” in various forms from written notes to selfies and more. Each participant then sent their documentations to Chase, washed the boxers, and sent them onto another person. “They have this living energy to them,” they added.</p> <div id="attachment_1234581971" style="width: 1034px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-1234581971" class="size-full wp-image-1234581971" src="https://www.artnews.com/wp-content/uploads/2021/01/JLC_6daysaweek_2020.jpg" alt="Jonathan Lyndon Chase, 6 days a week, 2020." width="1024" height="692" srcset="https://www.artnews.com/wp-content/uploads/2021/01/JLC_6daysaweek_2020.jpg 1500w, https://www.artnews.com/wp-content/uploads/2021/01/JLC_6daysaweek_2020.jpg?resize=400,270 400w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px" /><p id="caption-attachment-1234581971" class="wp-caption-text">Jonathan Lyndon Chase, <em>6 days a week</em>, 2020.</p></div> <p>The boxer exchange program ties into the exhibition’s title, “Big Wash,” which Chase sees as a way to think about the ways in which we “practice self-care. How do we wash our bodies, our minds, our souls? How do we wash our domestic spaces?”</p> <p>The works that Chase created for the Fabric Workshop were all done within the context of the ongoing pandemic and the swell of Black Lives Matter protests that were ignited over the summer with the murders of George Floyd and Breonna Taylor.</p> <p>“Every single day that I wake up there’s a trans person or a Black person killed,” Chase said. “After a while, I’m not sad—I’m angry. I’m just so fucking tired. We have to protest in the middle of a pandemic. I turn on the internet and you just casually see a dead Black person—just there. There’s no way you could ever get used to that.”</p> <div id="attachment_1234581976" style="width: 410px" class="wp-caption alignright"><img aria-describedby="caption-attachment-1234581976" class="size-medium wp-image-1234581976" src="https://www.artnews.com/wp-content/uploads/2021/01/JLC_SoapyShower_2020.jpg?w=400" alt="Jonathan Lyndon Chase, Soapy Shower, 2020." width="400" height="525" srcset="https://www.artnews.com/wp-content/uploads/2021/01/JLC_SoapyShower_2020.jpg 1200w, https://www.artnews.com/wp-content/uploads/2021/01/JLC_SoapyShower_2020.jpg?resize=400,525 400w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px" /><p id="caption-attachment-1234581976" class="wp-caption-text">Jonathan Lyndon Chase, <em>Soapy Shower</em>, 2020.</p></div> <p>Chase said that they had to take a short break from creating art last year. “I started feeling sick because of all of the death and violence that I was seeing,” they said. The break helped them realize that they don’t value their art making in terms of productivity and how much art they can make.</p> <p>But they eventually returned to making art as it became an increasingly important outlet for them to express how they had been navigating the past few difficult months. “Images on their own can only do so much. I don’t think art can solve every problem, but it is at least in the right direction,” they said.</p> <p>In channeling that energy, Chase looked to water and the elements as a way to evoke this concept of healing and transformation and for the many emotions that they—we, all of us—have felt over the past 10 months.</p> <p>“I always say, ‘We can’t control our emotions. We can only endure,’” Chase said. “The enduring part is the complicated part. If it rains, you can’t stop it from raining. You get an umbrella. So if you’re sad, witness your sadness. Don’t try not to judge yourself and the time will come to pass.”</p> How BTS’s Internet Presence Feeds “ARMY” Meme Production https://hyperallergic.com/615256/how-btss-internet-presence-feeds-army-meme-production/ Hyperallergic urn:uuid:53eb2d2e-b5db-1579-9f07-1158ee79854e Fri, 22 Jan 2021 17:06:00 +0100 <figure><img width="720" height="445" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?fit=720%2C445&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?w=2400&amp;quality=100&amp;ssl=1 2400w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=720%2C445&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=1200%2C742&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=600%2C371&amp;quality=100&amp;ssl=1 600w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=768%2C475&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=1536%2C950&amp;quality=100&amp;ssl=1 1536w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=2048%2C1266&amp;quality=100&amp;ssl=1 2048w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=1568%2C970&amp;quality=100&amp;ssl=1 1568w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=706%2C437&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615282" data-permalink="https://hyperallergic.com/615256/how-btss-internet-presence-feeds-army-meme-production/bts_be_unboxing_documentation/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?fit=2400%2C1484&amp;quality=100&amp;ssl=1" data-orig-size="2400,1484" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;1.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone 7&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1610737879&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;3.99&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.2&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="BTS_BE_Unboxing_Documentation" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?fit=720%2C445&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?fit=780%2C482&amp;quality=100&amp;ssl=1" /></figure>Through hashtags and others forms of social content, the K-pop idol group creates an open, interpretative framework for the back-and-forth exchanges of visual content and meanings between BTS and its fandom, called ARMY. <figure><img width="720" height="445" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?fit=720%2C445&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?w=2400&amp;quality=100&amp;ssl=1 2400w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=720%2C445&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=1200%2C742&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=600%2C371&amp;quality=100&amp;ssl=1 600w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=768%2C475&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=1536%2C950&amp;quality=100&amp;ssl=1 1536w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=2048%2C1266&amp;quality=100&amp;ssl=1 2048w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=1568%2C970&amp;quality=100&amp;ssl=1 1568w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?resize=706%2C437&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615282" data-permalink="https://hyperallergic.com/615256/how-btss-internet-presence-feeds-army-meme-production/bts_be_unboxing_documentation/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?fit=2400%2C1484&amp;quality=100&amp;ssl=1" data-orig-size="2400,1484" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;1.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone 7&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1610737879&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;3.99&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.2&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="BTS_BE_Unboxing_Documentation" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?fit=720%2C445&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/BTS_BE_Unboxing_Documentation.jpg?fit=780%2C482&amp;quality=100&amp;ssl=1" /></figure> <p>My assessment of <a href="https://en.wikipedia.org/wiki/BTS">BTS</a> is unabashedly biased. I’m what you call “pandemic ARMY,” becoming a fan shortly after the first lockdown, among over a 100 million fans who watched their October “Map of the Soul: ON:E” online concerts. Hell, I even <a href="https://www.instagram.com/tv/CH-7PMyggIv/">filmed my own unboxing</a> of their new album, <em>BE</em>, my first CD purchase in 15 years, and have hanging in my new home office a wall and desk calendar procured from their just-distributed Seasons Greetings holiday package. Why am I throwing all my money at these men? God, I wish I could tell you. But I think it is partly because I value their documented work, much of which is concerned with relationship building, which extends to their fandom. This reciprocates its own unique form of online collaboration and collective care.&nbsp;</p> <p>Kim Namjoon, Kim Seokjin, Min Yoonji, Jung Hoseok, Park Jimin, Kim Taehyung, Jeon Jungkook: so goes the fan chant roll call of the seven members that are the K-pop group BTS. Coming up on the first anniversary of the COVID-19 pandemic, it seems necessary to re-assess the band’s momentum at a time when most of the world paused, or more accurately, struggled with its debilitations. Their <a href="https://www.youtube.com/watch?v=gdZLi9oWNZg">Grammy-nominated single “Dynamite”</a> —&nbsp;frothy, effervescent disco pop more delightful than the institution deserves —&nbsp;made them the first K-pop group to have a number one on the Billboard charts. In November, they released <em>BE</em>, an attuned and diaristic entry in the emerging pandemic concept album genre, which led to another Billboard number one for its single, “Life Goes On.” But there was also the cancellation (or COVID-19 postponement) of their <em>Map of the Soul </em>world tour, and a global <a href="https://hyperallergic.com/538497/the-k-pop-boyband-bts-launched-an-international-art-project/"><em>Connect, BTS</em></a> public art project diminished by the early lockdown closures of museums and galleries. This “comeback” —&nbsp;a K-pop concept encompassing not just a new album but its entire promotional cycle entailing teasers, music videos, comeback stages, dance practices and even behind-the-scenes footage —&nbsp;was a massive pivot.&nbsp;</p> <p>As a commercial art form, K-pop has somehow been better able to process a pandemic reality, glittering and sparkling, clogging Twitter trends with fancams and hashtags like #JUNGKOOKGOODBOY. And if ever there has been a pop cultural entity that has managed to spin out variations upon variations of this pandemic reality, it’s been BTS: early lockdown studio livestreams, multiple music video edits and single remixes and even <a href="https://www.tiktok.com/@bts_official_bighit/video/6898558934282521858?lang=en">TikTok arts and crafts</a>. These digital artifacts, indexed by hashtagged curation, contextualize the work-in-progress formation of this unexpected comeback.</p> <figure class="wp-block-embed aligncenter is-type-rich is-provider-twitter wp-block-embed-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="en" dir="ltr"><a href="https://twitter.com/hashtag/BTS?src=hash&amp;ref_src=twsrc%5Etfw">#BTS</a> <a href="https://twitter.com/hashtag/%EB%B0%A9%ED%83%84%EC%86%8C%EB%85%84%EB%8B%A8?src=hash&amp;ref_src=twsrc%5Etfw">#방탄소년단</a> <a href="https://twitter.com/hashtag/BTS_BE?src=hash&amp;ref_src=twsrc%5Etfw">#BTS_BE</a> Concept Clip (Room ver.) <a href="https://t.co/iXmk23EpKd">pic.twitter.com/iXmk23EpKd</a></p>&mdash; BigHit Entertainment (@BigHitEnt) <a href="https://twitter.com/BigHitEnt/status/1325453030913830913?ref_src=twsrc%5Etfw">November 8, 2020</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div><figcaption>A <em>BE</em> concept clip focusing on the band&#8217;s individual shelter-in-place personas (courtesy Big Hit Entertainment)</figcaption></figure> <p>The hashtagged curation of this BTS pandemic reality began with #StayConnected, appending a <a href="https://www.youtube.com/playlist?list=PL5hrGMysD_Gtxnb_bal4-ZlUNOgwPqU3p">YouTube series</a> tracking in apparent real time their active role in <em>BE</em>’s album-making process as not just artists, but project managers and directors. The videos and streams revel in mundane arts administrative labor: <a href="https://www.youtube.com/watch?v=zwBMb2KAghQ&amp;list=PL5hrGMysD_Gtxnb_bal4-ZlUNOgwPqU3p&amp;index=7">music video treatment brainstorms</a>, the <a href="https://www.youtube.com/watch?v=iJWzkOH8glo&amp;list=PL5hrGMysD_Gtxnb_bal4-ZlUNOgwPqU3p&amp;index=21&amp;t=51s">florid typing of emails to a label’s A&amp;R</a>. Fast forward to the fall, in the lead up to their album’s release, and <a href="https://twitter.com/BigHitEnt/status/1323641119440134145">#Curated_by_BTS</a> affirmed how this endlessly documented process reflected a pandemic work-in-progress flow but also aesthetic. The hashtag was used to frame the Twitter distribution of <em>BE</em>’s concept photography —&nbsp;a teaser of the comeback’s aesthetic — dropping on a daily basis individual member’s <a href="https://twitter.com/BigHitEnt/status/1325453030913830913">sheltering-in-place personas</a>.&nbsp;</p> <p>As open interpretative frameworks, #StayConnected and #Curated_by_BTS re-circulate back and forth exchanges of visual content and meanings between BTS and its fandom. While ARMY’s meme production can sometimes engage in the unthinking reproduction of culture — remember, K-pop is a commercial art form —&nbsp;it can also be oppositional. This is why taking more seriously and holding accountable an online communal space like ARMY can help us better understand how socially-conscious gatherings and movements can emerge from new information cultures.&nbsp;</p> <p>Admittedly, unchecked online communal spaces can fall prey to the algorithms of misinformation, resulting in Q-Anon, anti-Vaxxers, and Proud Boys. Within the K-pop fandom alone, there are your expected fan wars, not to mention lingering issues surrounding the acknowledgement of K-pop’s roots in Black culture, and <a href="https://www.southsonder.com/post/is-cultural-appropriation-the-backbone-of-k-pop">its history of cultural appropriation</a>. As K-pop becomes more widely regarded as a mainstream global pop culture — and BTS its leading export — these fannish microstructures and boundaries reconfigure and morph. And within ARMY, the biggest K-pop fandom today, despite there being both affinities and tensions, it seems at the very least a better alternate pandemic reality of what being <em>in relation</em> means. This echoes the current English translation of the band’s acronym, “Beyond The Scene,” <a href="https://time.com/4845531/bts-beyond-the-scene-change/">a phrase described</a> by their label Big Hit Entertainment as “symbolizing youth who don’t settle for their current reality and instead open the door and go forward to achieve growth.” This refusal isn’t escapist: much of BTS’s music focuses on self-love, acceptance, and self-discovery, and is socially conscious. (The band has <a href="https://www.youtube.com/watch?v=XXCqBotaGRI">spoken</a> <a href="https://www.unicef.org/lac/en/BTS-LoveMyself">twice</a> at the United Nations General Assembly in support of youth development.)</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="jetpack-video-wrapper"><iframe class='youtube-player' width='780' height='439' src='https://www.youtube.com/embed/CvmwsqmVWQY?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent' allowfullscreen='true' style='border:0;' sandbox='allow-scripts allow-same-origin allow-popups allow-presentation'></iframe></div> </div><figcaption>The so-called ARMY version of BTS&#8217;s &#8220;Life Goes On&#8221; music video, one of four official music videos produced for the <em>BE</em> single. The music video was an edit of fan-submitted TikToks participating in the band&#8217;s arts and crafts TikTok challenge (courtesy BANGTANTV)</figcaption></figure> <p>While BTS frequently invites comparison to the Beatles, it’s worth comparing the band and their horizontal relationship to their fandom with the Grateful Dead.</p> <p>The Grateful Dead’s modelling of anti-establishment collaboration shaped the Deadhead subculture. Granted, calling a Korean boy band “anti-establishment” is a stretch, but their “<a href="https://doolsetbangtan.wordpress.com/2018/08/02/baepsae-silver-spoon/">baepsae</a>” underdog status has long been formed by subversive lyrics and visuals <a href="https://www.youtube.com/watch?v=mmgxPLLLyVo">critiquing the Korean school system</a>, <a href="https://doolsetbangtan.wordpress.com/2018/07/15/go-go/">millennial conspicuous consumption</a>, and even <a href="https://doolsetbangtan.wordpress.com/2018/06/17/pied-piper/">their own fandom&#8217;s obsessive tendencies</a>. This lyrical self-reflection is augmented by reality and variety show content, documenting these young men engaging in <a href="https://www.koreaboo.com/stories/bts-v-crying-heated-argument-jin-backstage/">backstage conflict resolution</a>, or calling themselves <a href="https://www.pinkvilla.com/entertainment/hollywood/bts-jimin-and-vs-latest-good-night-conversation-has-army-convinced-again-theyre-meant-be-soulmates-549184">each other’s soul mates</a>. As Dr. Candace Epps-Robertson pointed out in her lecture on BTS’s transcultural fandom for a Fall 2019 <a href="https://iks.indiana.edu/news-events/events/korean-culture-webinar-series.html">Indiana University webinar series</a>, these sentiments are “invitationals,” allowing fans to respond accordingly.</p> <p>Within the same webinar series, Korean contemporary culture scholar CedarBough Saeji noted that K-pop isn’t just a music genre but a mode of production strategically embracing cultural difference. The emphasis on presentation, style, and performance often substitute for lyrics in the listeners’ language. While K-pop idols are fantasy constructs, they are also “parasocial kin” who constantly express their gratitude to fans. (This is what’s called “fan service.”) The “you” in much of BTS’s music is ARMY — their fandom. This service creates a call and response dynamic. In June, <a href="https://graphics.reuters.com/GLOBAL-RACE/BTS-FANS/nmopajgmxva/">when the band made a $1 million dollar donation to Black Lives Matter</a>, ARMY quickly matched it, largely through the distribution of a #MatchAMillion Twitter hashtag steered by One In An ARMY, a fan collective that organizes charity campaigns. BTS’s collaboration, then, is often extended and expanded by the fandom, a sprawling mycelial-like network producing collective actions and meanings within pervasive digital infrastructures.</p> <p class="has-text-align-center">* &nbsp; * &nbsp; *</p> <figure class="wp-block-embed aligncenter is-type-rich is-provider-twitter wp-block-embed-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="ko" dir="ltr"><a href="https://twitter.com/hashtag/BTS?src=hash&amp;ref_src=twsrc%5Etfw">#BTS</a> <a href="https://twitter.com/hashtag/%EB%B0%A9%ED%83%84%EC%86%8C%EB%85%84%EB%8B%A8?src=hash&amp;ref_src=twsrc%5Etfw">#방탄소년단</a> <a href="https://twitter.com/hashtag/BTS_BE?src=hash&amp;ref_src=twsrc%5Etfw">#BTS_BE</a> Concept Photo &#8211; 슈가 (SUGA)<br><br><img src="https://s.w.org/images/core/emoji/13.0.1/72x72/1f3a7.png" alt=" KALTBLUT Player: Selects 01 https://www.kaltblut-magazine.com/kaltblut-player-selects-01/ KALTBLUT Magazine urn:uuid:1d953475-4364-21da-56d0-47e845494f64 Fri, 22 Jan 2021 17:00:20 +0100 <p><strong>We&#8217;re kicking off 2021 with a brand new collection of favourites curated by the music team called KALTBLUT </strong>&#8230;</p> The Artists Who Lurk on the Dark Web https://hyperallergic.com/615891/the-artists-who-lurk-on-the-dark-web/ Hyperallergic urn:uuid:ad3e05b6-84ce-2193-65d4-3127301309cd Fri, 22 Jan 2021 17:00:00 +0100 <figure><img width="720" height="480" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?fit=720%2C480&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?w=2400&amp;quality=100&amp;ssl=1 2400w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=720%2C480&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=1200%2C800&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=768%2C512&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=1536%2C1024&amp;quality=100&amp;ssl=1 1536w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=2048%2C1365&amp;quality=100&amp;ssl=1 2048w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=1568%2C1045&amp;quality=100&amp;ssl=1 1568w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=706%2C471&amp;quality=100&amp;ssl=1 706w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615907" data-permalink="https://hyperallergic.com/615891/the-artists-who-lurk-on-the-dark-web/pexels-kaique-rocha-331990/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?fit=2400%2C1600&amp;quality=100&amp;ssl=1" data-orig-size="2400,1600" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1611078014&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="pexels-kaique-rocha-331990" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?fit=720%2C480&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?fit=780%2C520&amp;quality=100&amp;ssl=1" /></figure>Launched in 2011, Silk Road was a dark web marketplace where unlawful goods and services, including illegal drugs and (allegedly) the services of professional hitmen, were bought and sold regularly by the site’s users. According to the FBI, It was used by thousands of drug dealers and other unlawful vendors to distribute hundreds of kilograms [&#8230;] <figure><img width="720" height="480" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?fit=720%2C480&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?w=2400&amp;quality=100&amp;ssl=1 2400w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=720%2C480&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=1200%2C800&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=768%2C512&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=1536%2C1024&amp;quality=100&amp;ssl=1 1536w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=2048%2C1365&amp;quality=100&amp;ssl=1 2048w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=1568%2C1045&amp;quality=100&amp;ssl=1 1568w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?resize=706%2C471&amp;quality=100&amp;ssl=1 706w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615907" data-permalink="https://hyperallergic.com/615891/the-artists-who-lurk-on-the-dark-web/pexels-kaique-rocha-331990/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?fit=2400%2C1600&amp;quality=100&amp;ssl=1" data-orig-size="2400,1600" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1611078014&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="pexels-kaique-rocha-331990" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?fit=720%2C480&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/pexels-kaique-rocha-331990.jpeg?fit=780%2C520&amp;quality=100&amp;ssl=1" /></figure> <p>Launched in 2011, <a href="https://en.wikipedia.org/wiki/Silk_Road_(marketplace)">Silk Road</a> was a dark web marketplace where unlawful goods and services, including illegal drugs and (allegedly) the services of professional hitmen, were bought and sold regularly by the site’s users. <a href="https://www.dea.gov/press-releases/2020/01/30/senior-advisor-silk-road-website-pleads-guilty-manhattan-federal-court">According to the FBI</a>,</p> <blockquote class="wp-block-quote"><p>It was used by thousands of drug dealers and other unlawful vendors to distribute hundreds of kilograms of illegal drugs and other unlawful goods and services to well over 100,000 buyers, and to launder hundreds of millions of dollars deriving from these unlawful transactions.</p></blockquote> <p>This black market was closed in 2013 by the&nbsp;FBI and its founder sentenced to&nbsp;life in prison&nbsp;without possibility of parole. Recently, the US government seized more than one billion dollars’ worth of bitcoins connected to Silk Road.</p> <p>This is only one of the many stories that have contributed to the making of the dangerous, edgy image that the dark web has in the public perception. It seems there are no limits to the horrible acts taking place in the dark alley of the internet: terrorism, illegal pornography, and violence against animals are only few of the kinds of content that a novice dark web visitor might step upon when accessing it. One may wonder if the act of logging in doesn’t constitute an illegal act by itself. But what actually is this dark web?</p> <p>Imagine having access to a telephone&nbsp;book containing the contact numbers of every single household and business in a city. You can reach shops, clubs, private houses, everything that is indexed by the phone company in their directory. This book gives you many contacts , but it doesn’t cover everyone. In fact, there is another platform using similar information to develop a web of contacts who don’t want to be indexed in the directory. The owners of this platform work independently from whoever owns the official telephone book. To get in contact with this alternative platform takes curiosity, a bit of technical skill, and maybe courage.</p> <p>The dark web is something like this: not the dark, unknown territory within the ocean’s Mariana Trench, but more like radio waves that are constantly passing through your body whether or not you have the special instruments to makes these waves intelligible to you. In the case of the dark web, one needs Tor, “an open-source software that enables anonymous communication by directing Internet traffic through an overlay network consisting of more than seven thousand relays in order to conceal a user&#8217;s location” as specified in the <a href="https://www.torproject.org/">home page</a> of the project’s website.</p> <p>The users of the dark web are not tracked, meaning that any activities, legal and illegal, can potentially take place there. While the platforms commonly used on the World Wide Web don’t allow certain acts or are not designed to support open and anonymous discussion, a community can take advantage of the dark web’s concealing features to develop interactions otherwise impossible in online contexts. Of course, the freedom granted by the dark web has consequences. It may be used to develop a space for a sincere dialogue regarding social aspects that people are publicly ashamed of, or, with similar ease, act as a black market for illegal substances.</p> <p>This sense of risk permeates mainstream stories about the dark web: If you search for “Tor” on Google, some of the most frequent searches are “is Tor illegal?” (answer: no); “do hackers use Tor?” (Yes) and “is Tor dangerous to use?” (generally, no). This unsafeness attracted the attention of those artists and creatives who critically focus on the study of digital tools. At a certain point, Facebook, Google, and the other big online platforms allowed less and less freedom to what creatives could do on them. An example of this occurred in 2007 when <a href="https://anthology.rhizome.org/vvebcam">works uploaded by artist Petra Cortright on YouTube</a> were deleted by the platform in 2010 because the key words she used didn’t follow the company’s guidelines and could lead viewers to content they weren’t looking for.</p> <figure class="wp-block-image size-large"><img data-attachment-id="615911" data-permalink="https://hyperallergic.com/615891/the-artists-who-lurk-on-the-dark-web/fl-darkweb-picture-1-petra-cortright/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?fit=1280%2C923&amp;quality=100&amp;ssl=1" data-orig-size="1280,923" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1611077087&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="FL-Darkweb-picture-1-Petra-Cortright" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?fit=720%2C519&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?fit=780%2C562&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="562" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?resize=780%2C562&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615911" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?resize=1200%2C865&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?resize=720%2C519&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?resize=768%2C554&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?resize=706%2C509&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-picture-1-Petra-Cortright.jpeg?w=1280&amp;quality=100&amp;ssl=1 1280w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption><strong>Petra Cortright, VVEBCAM (2007), screenshot of the YouTube page</strong> <strong>reconstructed</strong> by the artist (screenshot by the author)</figcaption></figure> <p>The increasingly limiting “community standards” provided and imposed by social media even inspired the creation of a web space hosting artworks that were rejected by Facebook, Twitter and the other platforms. A project titled “<a href="https://dontdelete.art/">Don’t Delete Art</a>” is part of an&nbsp;international campaign&nbsp;“to have social media platforms adopt a&nbsp;set of principles&nbsp;that would allow art to circulate freely in the online environment.” Creatives who saw their works censored are invited to send them to the curators of the website to let them be enjoyed by the public. Not only are the works themselves on display, but also the reason why they were refused in the first place. In one case, a 1940 nude photography study was rejected by Facebook because it “violated community guidelines on photographic nudity;” in another, a drawing of a bearded man was removed from both by Zuckerberg’s platform and Instagram because it featured “explicit sexual content” although nothing similar could be found in it by this author.</p> <p>The process of protecting users’ feelings through censorship of content is at the center of</p> <p><a href="https://0100101110101101.org/dark-content/">&#8220;Dark Content”</a> (2015) by artists Eva and Franco Mattes. They released a series of video episodes featuring stories told by anonymous social media content moderators on their site on the dark web, a project inspired by the removal from YouTube of another work created by the artists. Following the decision of unnamed moderators who deemed the content too sensitive, the clips have been displayed in traditional art galleries afterwards, making them available to the visitors who don’t usually access the dark web.</p> <figure class="wp-block-image size-large"><img data-attachment-id="615916" data-permalink="https://hyperallergic.com/615891/the-artists-who-lurk-on-the-dark-web/fl-darkweb-picture-3/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?fit=1280%2C854&amp;quality=100&amp;ssl=1" data-orig-size="1280,854" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;9&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;NIKON D810&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1424372165&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;45&quot;,&quot;iso&quot;:&quot;64&quot;,&quot;shutter_speed&quot;:&quot;0.33333333333333&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="FL-Darkweb-Picture-3" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?fit=720%2C480&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?fit=780%2C521&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="521" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?resize=780%2C521&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615916" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?resize=1200%2C801&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?resize=720%2C480&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?resize=768%2C512&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?resize=706%2C471&amp;quality=100&amp;ssl=1 706w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-3.jpeg?w=1280&amp;quality=100&amp;ssl=1 1280w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption><strong>Eva &amp; Franco Mattes, Dark Content (2015) as installed at Carroll/Fletcher Gallery, London</strong> (image courtesy the artists)</figcaption></figure> <p>The context for the display of the work is central here as much as it is in exhibitions held in a physical space. The fact that visitors are requested to enter the dark web and put themselves at the potential peril of contacting illegal content and dangerous acts, is itself part of the work, no matter to what degree the danger is real or not. There is a thin line between a positive lack of corporate control and a negative <em>laissez-faire</em> approach that permits what is normally considered illegal, &nbsp;and making and showing art on the dark web consist of both these approaches.</p> <p>This interest in working in contexts that have not yet been permeated by the market-driven logic of corporations or by governmental control resembles certain aspects of the first phase of modern urban gentrification, namely artists seeking out the areas that allow them to work with more freedom and less financial cost than the busy, hyper-capitalized districts where most people live and socialize. It is exactly the importance of alternative means of production and display that led artists Dina Karadžić and Vedran Gligo in 2015 to open <a href="https://pivilion.net/">Pivilion</a>, a gallery located in the dark web where visitors can find contemporary art works that would have otherwise been censored in other public exhibition spaces. Thanks to its decentralised structure, which has no central authority carrying out regulatory action, the dark web offers the artists a degree of freedom and anonymity that commercial galleries and traditional cultural venues simply can’t match. This is an untold contemporary art history that draws my attention because its developments are difficult to record given the platform where its key actions have taken place.</p> <figure class="wp-block-image size-large"><img data-attachment-id="615915" data-permalink="https://hyperallergic.com/615891/the-artists-who-lurk-on-the-dark-web/fl-darkweb-picture-2-pivilion/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?fit=1280%2C720&amp;quality=100&amp;ssl=1" data-orig-size="1280,720" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1611077111&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="FL-Darkweb-Picture-2-Pivilion" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?fit=720%2C405&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?fit=780%2C439&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="439" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?resize=780%2C439&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615915" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?resize=1200%2C675&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?resize=720%2C405&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?resize=768%2C432&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?resize=706%2C397&amp;quality=100&amp;ssl=1 706w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/FL-Darkweb-Picture-2-Pivilion.jpeg?w=1280&amp;quality=100&amp;ssl=1 1280w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Dina Karadžić and Vedran Gligo, Pivilion (2015), custom interface for the exhibition <em>~ co-op ~ / Borders of Visibility</em> at the Museum of Fine Arts, Osijek (image courtesy the artists)</figcaption></figure> <p>The works by known artists displayed on the dark web offer the public the opportunity to access areas of the internet they may have never been visited before, like taking a bus to what is perceived as a lowlife area of a big city, knowing that the journey there will be a safe experience in a comforting space. The travel to and from the exhibition is an adventure and constitutes part of the experience. Other than offering a thrill that visits to traditional online galleries often can’t match, experiencing this work also helps the public get used to navigating unknown territories, where they can’t rely on Google or Facebook to search for information or easily contact other people. In this sense, the dark web resembles an idyllic memory of what the World Wide Web was in the 1990s, before the arrival of big corporations, when the first net.art projects came to be thanks to artists who were granted more freedom than exists in some of these digital spaces now.</p> <p>By taking advantage of the unique features of the dark web, contemporary artists offer a service to the public who seek alternative, less known routes to navigate the internet. The public perception of the dark web, so potentially dangerous and borderline in the eyes of those respectable web citizens who never venture outside the spaces constituting their online routines, play an important role in the presentation and understanding of the works hosted on it. The dark web, like a urban district that becomes gentrified over time, may come to host new areas for exploration. Decentralised markets and discussion spaces where there is no censorship may rise along with a number of exhibitions by known artists. This development may cause a radical change in the public perception of what the dark web offers and potentially make it a more secure area to explore.</p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=UpIIVS3FF-Y:ZItoaMkcs4k:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=UpIIVS3FF-Y:ZItoaMkcs4k:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=UpIIVS3FF-Y:ZItoaMkcs4k:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=UpIIVS3FF-Y:ZItoaMkcs4k:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/UpIIVS3FF-Y" height="1" width="1" alt=""/> Madeleine Grynsztejn on Creating a Financially Sustainable Museum https://www.artnews.com/art-in-america/interviews/madeleine-grynsztejn-mca-chicago-financial-sustainability-1234581782/ ARTnews.com urn:uuid:e7ed49d9-a82d-9179-3b3a-93b6a9996eee Fri, 22 Jan 2021 16:15:09 +0100 The MCA Chicago director didn’t let the pandemic interrupt a strategic plan to make the institution more financially sustainable. <div id="attachment_1234581948" style="width: 260px" class="wp-caption alignright"><a href="https://www.artnews.com/wp-content/uploads/2021/01/2.MadeleineGrynsztejn_300dpi.jpg" ><img aria-describedby="caption-attachment-1234581948" class="wp-image-1234581948" src="https://www.artnews.com/wp-content/uploads/2021/01/2.MadeleineGrynsztejn_300dpi.jpg?w=400" alt="Illustration Denise Nestor." width="250" height="300" /></a><p id="caption-attachment-1234581948" class="wp-caption-text">Illustration Denise Nestor.</p></div> <p><em>In 2019, the <a href="https://www.artnews.com/t/mca-chicago/" id="auto-tag_mca-chicago" data-tag="mca-chicago">MCA Chicago</a> implemented a strategic plan to make the institution more financially sustainable, and more welcoming to—and representative of—its community. <a href="https://www.artnews.com/t/madeleine-grynsztejn/" id="auto-tag_madeleine-grynsztejn" data-tag="madeleine-grynsztejn">Madeleine Grynsztejn</a> didn’t let the pandemic interrupt these initiatives; she took it as an opportunity to accelerate them.</em></p> <p>When we shut down in March 2020, we pivoted our programming immediately. We reopened in July with an exhibition called “Just Connect,” featuring works drawn from our collection. The pandemic has made us more aware of our desire to connect, and the show was devoted to our dependence on others for a sense of belonging. The MCA is one of the few museums that has a very active performance program, and we introduced hybrid offerings that happen online with somatic components. In many cases, our digital programs draw a larger, more diverse and global audience than equivalent programs held on-site, with many first-time MCA attendees.</p> <p>Of our new programming initiatives, perhaps the most important is “The Long Dream,” an exhibition that runs through January 17, 2021, and reflects the moment both in its organization and its content. It features more than seventy Chicago-based artists, working in visual arts, performance, and public practice. Covid-19 exposed just how vulnerable our artist community is. Gigs disappeared overnight, and so did opportunities to show and sell work. We conceived “The Long Dream” as a platform to elevate and celebrate Chicago artists, because it’s imperative that we look to artists’ work and listen to their voices in this time of social change. It’s the most multifaceted exhibition in our history, in terms of mediums and artist demographics, and extraordinarily varied in its interpretation. The labels have been written in collaboration with our incredible Teen Creative Agency, and with community leaders and youth groups across the city. All this has happened since March 2020. It usually takes three years to do a 12,000-square-foot show. We did it in five months.</p> <p>“The Long Dream” reflects our commitment to equity throughout our institution, both on our walls and in our staffing practices. It is the result of a shared-leadership curatorial model. The show was curated by a team of people, some of whom do not have the word “curator” in their title. Our external programming has long been lauded for diversity and inclusion. We’ve featured women artists at a level of 50 percent since 2015. But we needed to catch up internally. When most institutions were furloughing their front-facing employees, we went in the opposite direction. We converted visitor services from part-time to full-time with benefits, precisely because we recognized this was a vulnerability that we had to address. We invited visitor services staff to work from home, by contributing to the museum’s accessibility initiatives. Staff members were paid their usual wages to write image descriptions for the website, to make it more accessible to low-vision users. We also sped up the development of our staff’s racial equity and museum accessibility chops by having them participate in anti-racism workshops, so that when we came back on-site, this team was even more culturally sensitized and ready to welcome our very diverse audience. Every museum should be looking at an equity mandate. We’re facing one crisis: a crisis of fairness.</p> A Virtual Sundance Brings Movies About Isolation and Mediated Realities https://hyperallergic.com/616291/sundance-2021-preview/ Hyperallergic urn:uuid:333f8509-1fa4-a17e-44d5-399f9a53d936 Fri, 22 Jan 2021 16:00:00 +0100 <figure><img width="720" height="405" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?fit=720%2C405&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?w=2560&amp;quality=100&amp;ssl=1 2560w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=720%2C405&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=1200%2C675&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=768%2C432&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=1536%2C864&amp;quality=100&amp;ssl=1 1536w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=2048%2C1152&amp;quality=100&amp;ssl=1 2048w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=1568%2C882&amp;quality=100&amp;ssl=1 1568w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=706%2C397&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616429" data-permalink="https://hyperallergic.com/616291/sundance-2021-preview/were-all-going-to-the-worlds-fair-still-1/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?fit=2560%2C1440&amp;quality=100&amp;ssl=1" data-orig-size="2560,1440" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Anna Cobb appears in &lt;i&gt;We\u2019re All Going to the World\u2019s Fair&lt;\/i&gt; by Jane Schoenbrun, an official selection of the NEXT section at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Daniel Patrick Carbone.\r\rAll photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and\/or &#039;Courtesy of Sundance Institute.&#039; Unauthorized use, alteration, reproduction or sale of logos and\/or photos is strictly prohibited.&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute pro&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;We&#039;re All Going to the World&#039;s Fair - Still 1&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="We&#8217;re All Going to the World&#8217;s Fair &#8211; Still 1" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?fit=720%2C405&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?fit=780%2C439&amp;quality=100&amp;ssl=1" /></figure>The 2021 edition of the important film festival is open to viewers around the country. <figure><img width="720" height="405" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?fit=720%2C405&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?w=2560&amp;quality=100&amp;ssl=1 2560w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=720%2C405&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=1200%2C675&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=768%2C432&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=1536%2C864&amp;quality=100&amp;ssl=1 1536w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=2048%2C1152&amp;quality=100&amp;ssl=1 2048w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=1568%2C882&amp;quality=100&amp;ssl=1 1568w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?resize=706%2C397&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616429" data-permalink="https://hyperallergic.com/616291/sundance-2021-preview/were-all-going-to-the-worlds-fair-still-1/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?fit=2560%2C1440&amp;quality=100&amp;ssl=1" data-orig-size="2560,1440" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Anna Cobb appears in &lt;i&gt;We\u2019re All Going to the World\u2019s Fair&lt;\/i&gt; by Jane Schoenbrun, an official selection of the NEXT section at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Daniel Patrick Carbone.\r\rAll photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and\/or &#039;Courtesy of Sundance Institute.&#039; Unauthorized use, alteration, reproduction or sale of logos and\/or photos is strictly prohibited.&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute pro&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;We&#039;re All Going to the World&#039;s Fair - Still 1&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="We&#8217;re All Going to the World&#8217;s Fair &#8211; Still 1" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?fit=720%2C405&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/worlds-fair.jpg?fit=780%2C439&amp;quality=100&amp;ssl=1" /></figure> <p>The <a href="https://festival.sundance.org/" target="_blank" rel="noreferrer noopener">Sundance Film Festival</a> is around the corner, and while this year it’ll be mostly digital — with a limited number of festivalgoers actually in Park City, Utah — the fact that it’s happening at all is cause for optimism. Especially since the virtual screenings mean that <a href="https://tickets.festival.sundance.org/" target="_blank" rel="noreferrer noopener">anyone around the US can watch the films</a>, instead of hearing about them from afar. The program has no lack of movies that explore psychological strain, often due to social isolation — an intensely relatable theme, given the year we’ve had.</p> <p>In some films, this theme of confinement is at the forefront. Iuli Gerbase’s drama <em><a href="https://fpg.festival.sundance.org/film-info/5fd043008e9fe336d333c2e4" target="_blank" rel="noreferrer noopener">The Pink Cloud </a></em>takes it quite literally. For one man and woman, a one-night stand abruptly becomes a lasting commitment after a toxic cloud descends upon the world, imprisoning everyone indoors. What is left of our freedom if our mobility is curtailed, and not for months but years? Can virtual reality replace our normal sensory experiences? Gerbase’s microcosmic lens is a stress test that unfolds at its own unhurried yet ruthless pace. A similar existential crisis haunts Jane Schoenbrun’s <em><a href="https://fpg.festival.sundance.org/film-info/5fd038e12885b8421b946614" target="_blank" rel="noreferrer noopener">We’re All Going to the World’s Fair</a>, </em>about a willful teenager who escapes boredom by participating in an online horror challenge. Its retro-<em>Blair Witch</em>-y horror centers on whether Anna is just trying to scare herself and others or is in fact psychologically caving in.</p> <figure class="wp-block-image size-large"><img data-attachment-id="616428" data-permalink="https://hyperallergic.com/616291/sundance-2021-preview/users-still-1/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?fit=2560%2C1441&amp;quality=100&amp;ssl=1" data-orig-size="2560,1441" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;A still from &lt;i&gt;Users&lt;\/i&gt; by Natalia Almada, an official selection of the U.S. Documentary Competition at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Natalia Almada.\r\rAll photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and\/or &#039;Courtesy of Sundance Institute.&#039; Unauthorized use, alteration, reproduction or sale of logos and\/or photos is strictly prohibited.&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute pro&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Users - Still 1&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Users &#8211; Still 1" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?fit=720%2C405&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?fit=780%2C439&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="439" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?resize=780%2C439&#038;quality=100&#038;ssl=1" alt="" class="wp-image-616428" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?resize=1200%2C675&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?resize=720%2C405&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?resize=768%2C432&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?resize=1536%2C865&amp;quality=100&amp;ssl=1 1536w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?resize=2048%2C1153&amp;quality=100&amp;ssl=1 2048w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?resize=1568%2C883&amp;quality=100&amp;ssl=1 1568w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?resize=706%2C397&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/users.jpg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>From <i>Users</i> (2021), dir. Natalia Almada</figcaption></figure> <p>Both those movies heavily feature technology, though mostly of the homey and low-key kind (with some appearances by VR equipment). Many other titles at the festival delve further into themes of mediated reality and simulation. Natalia Amada’s documentary <em><a href="https://fpg.festival.sundance.org/film-info/5fd0f4d747af89124eb303de" target="_blank" rel="noreferrer noopener">Users</a> </em>poses a similar question to <em>The Pink Cloud</em> about simulation versus embodied experience. Told through the lens of a mother worried over how all-pervasive tech will affect her young child&#8217;s growth, it explores various facets of modernity — not just in our interactions with the tech itself, but in the infrastructure of labor that creates the tech. Rodney Ascher’s <em><a href="https://fpg.festival.sundance.org/film-info/5fd067928e9fe36fcd33c4a3" target="_blank" rel="noreferrer noopener">A Glitch in the Matrix</a></em> examines the idea that our world is nothing but a simulation, and how it has plagued humans pretty much since the birth of civilization. And Carrey Williams’s <em><a href="https://fpg.festival.sundance.org/film-info/5fd03c2a2885b876de9466d3" target="_blank" rel="noreferrer noopener">R#J</a>,</em> which adapts <em>Romeo and Juliet</em> in the modern day through social media, is another opportunity to reflect how our tools inform how we tell stories.</p> <figure class="wp-block-image size-large"><img data-attachment-id="616427" data-permalink="https://hyperallergic.com/616291/sundance-2021-preview/prime-time-still-1/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?fit=2560%2C1439&amp;quality=100&amp;ssl=1" data-orig-size="2560,1439" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark III&quot;,&quot;caption&quot;:&quot;Bartosz Bieleina appears in &lt;i&gt;Prime Time&lt;\/i&gt; by Jakub Pi\u0105tek, an official selection of the World Cinema Dramatic Competition at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Tomek Kaczor.\r\rAll photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and\/or &#039;Courtesy of Sundance Institute.&#039; Unauthorized use, alteration, reproduction or sale of logos and\/or photos is strictly prohibited.&quot;,&quot;created_timestamp&quot;:&quot;1597684367&quot;,&quot;copyright&quot;:&quot;All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute pro&quot;,&quot;focal_length&quot;:&quot;35&quot;,&quot;iso&quot;:&quot;3200&quot;,&quot;shutter_speed&quot;:&quot;0.003125&quot;,&quot;title&quot;:&quot;Prime Time - Still 1&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Prime Time &#8211; Still 1" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?fit=720%2C405&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?fit=780%2C439&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="439" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?resize=780%2C439&#038;quality=100&#038;ssl=1" alt="" class="wp-image-616427" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?resize=1200%2C675&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?resize=720%2C405&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?resize=768%2C432&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?resize=1536%2C863&amp;quality=100&amp;ssl=1 1536w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?resize=2048%2C1151&amp;quality=100&amp;ssl=1 2048w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?resize=1568%2C881&amp;quality=100&amp;ssl=1 1568w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?resize=706%2C397&amp;quality=100&amp;ssl=1 706w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/prime-time.jpg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>From <i>Prime Time</i> (2021), dir. Jakub Piątek</figcaption></figure> <p>A potent dose of social claustrophobia also comes from Frida Kempff’s compelling Swedish drama <em><a href="https://fpg.festival.sundance.org/film-info/5fd0ae754ec3e820df5deda9" target="_blank" rel="noreferrer noopener">Knocking</a></em>. Beautifully shot by Hannes Krantz in rich sepia and primary colors, it interlocks many spatial, aural, and temporal distortions — it is psychological horror that in a deeper sense testifies to the profound, frightful isolation of mental illness. Meanwhile, Jakub Piątek&#8217;s <em><a href="https://fpg.festival.sundance.org/film-info/5fd0f96663d6773d64c3a500" target="_blank" rel="noreferrer noopener">Prime Time</a></em> bears signs (and some vices) of a timeless moralist passion play, but it too is keenly keyed to the present moment. In 1999 Poland, as the clock counts down to the new year and the world fears the technological meltdown of Y2K, an armed young man storms a television studio and takes a news presenter and crew hostage. What at first looks like a straightforward genre exercise matures into a tense social drama about intolerance and media, as well as the many clashing Europes, both progressive and retrograde.</p> <figure class="wp-block-image size-large"><img data-attachment-id="616426" data-permalink="https://hyperallergic.com/616291/sundance-2021-preview/writing-with-fire-still-1/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?fit=2560%2C1440&amp;quality=100&amp;ssl=1" data-orig-size="2560,1440" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;A still from &lt;i&gt;Writing With Fire&lt;\/i&gt; by Rintu Thomas and Sushmit Gosh, an official selection of the World Cinema Documentary Competition at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Black Ticket Films.\r\rAll photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and\/or &#039;Courtesy of Sundance Institute.&#039; Unauthorized use, alteration, reproduction or sale of logos and\/or photos is strictly prohibited.&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute pro&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Writing With Fire - Still 1&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Writing With Fire &#8211; Still 1" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?fit=720%2C405&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?fit=780%2C439&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="439" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?resize=780%2C439&#038;quality=100&#038;ssl=1" alt="" class="wp-image-616426" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?resize=1200%2C675&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?resize=720%2C405&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?resize=768%2C432&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?resize=1536%2C864&amp;quality=100&amp;ssl=1 1536w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?resize=2048%2C1152&amp;quality=100&amp;ssl=1 2048w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?resize=1568%2C882&amp;quality=100&amp;ssl=1 1568w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?resize=706%2C397&amp;quality=100&amp;ssl=1 706w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/writing-with-fire.jpg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>From <i>Writing With Fire</i> (2021), dir. Rintu Thomas and Sushmit Ghosh</figcaption></figure> <p>A number of documentary features offer a compelling counter-motion: Out of isolation and forced confinement comes a reestablished or newly found freedom. Hogir Hirori’s <em><a href="https://fpg.festival.sundance.org/film-info/5fd057552885b88749946892" target="_blank" rel="noreferrer noopener">Sabaya</a></em>, filmed during the Syrian Civil War, follows a small team of activists who infiltrate the ISIL-held camp at Al-Hol to rescue kidnapped Yazidi women and girls being held as sex slaves. It’s a tense investigative procedural, but perhaps the most evocative scenes are those which provide glimpses of the world from behind the black folds of an abaya veil. Similarly, Rintu Thomas and Sushmit Ghosh’s spirited <em><a href="https://fpg.festival.sundance.org/film-info/5fd0a5db4ec3e848925ded4a" target="_blank" rel="noreferrer noopener">Writing with Fire</a></em> tails a team of journalists working for an all-female news network in India as they report on caste prejudice and women seeking justice against rapists and neglect by government officials. The film is a restorative effort, positing journalistic — and by extension, documentary — practice as tied to defending democratic values and the most vulnerable citizens.</p> <p><em>The 2021 Sundance Film Festival runs January 28 through February 3. Stand by for more coverage from Hyperallergic!</em></p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=B0KvbUUbq1g:yzB-ODvGqoU:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=B0KvbUUbq1g:yzB-ODvGqoU:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=B0KvbUUbq1g:yzB-ODvGqoU:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=B0KvbUUbq1g:yzB-ODvGqoU:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/B0KvbUUbq1g" height="1" width="1" alt=""/> Little-Known Manet Heads to Auction, Cheech Marin Museum Gets City Support, and More: Morning Links from January 22, 2021 https://www.artnews.com/art-news/news/manet-auction-cheech-marin-museum-municipal-funding-morning-links-1234581957/ ARTnews.com urn:uuid:e1e2f5d0-eaf6-29d1-0fb7-3656c588475a Fri, 22 Jan 2021 15:59:07 +0100 Here's what we're reading this morning. <p><i>To receive Morning Links in your inbox every weekday, sign up for our </i><a href="http://pages.email.artnews.com/artnews/signup/" target="_blank" rel="noopener" ><span class="s2">Breakfast with ARTnews</span></a> <i>newsletter.</i></p> <h3><strong>The Headlines</strong></h3> <p><b>IT IS A GOOD DAY FOR ÉDOUARD MANET FANS—AND DOG FANS</b>. A painting by Manet that has never been shown publicly is set to <a title="hit the auction block" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09959bfee24339da1256c172fd1420d41ec2c12933a7f5752aaecf79b3d67e1d58aa515b64b5ac03f449d5b0f5b0aa3cc9" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >hit the auction block</a> in Paris at <b>Drouot Estimations</b> in February, the <i>Guardian </i>reports. Carrying a low estimate of about $341,000, it is a brushy, endearing depiction of the dog of <b>Marguerite Lathuille</b>. It has apparently been in the family since 1879, the year that Manet gave it to Marguerite as a present. If her name rings a bell, it may be because Manet frequented her father’s resto in the French capital, the Père Lathuille, and depicted it in one of his most memorable scenes, <i><a title="Chez le Père Lathuille" href="https://click.email.artnews.com/?qs=752a7036cdc5bf0929b694820b3a51dff803e575dada45dc9e933f7fd39d2bb9639ce4136b1e90ceae89b8b2fad5f9eff9957536fd0902de" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >Chez le Père Lathuille</a></i> (1879), which resides in the <b>Musée des Beaux-Arts de Tournai</b> in Belgium. The artist also painted a <a title="portrait of Marguerite" href="https://click.email.artnews.com/?qs=752a7036cdc5bf095d21430f7e7f09cb5f3b94802aa3443ff73bc8c8bee9198b66e142d2e31b46f719300efe117fdc4096ed446ca5b940d1" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >portrait of Marguerite </a> around 1878 that belongs to the <b>Musée des Beaux-Arts de Lyon</b> in France. Perhaps one of those institutions would like to bid for the family pet?</p> <p><b>THE <a href="https://www.artnews.com/t/bernie-sanders/" id="auto-tag_bernie-sanders" data-tag="bernie-sanders">BERNIE SANDERS</a> ART MEME STORY JUST KEEP GIVING.</b> Yesterday in <i>ARTnews</i>, <b>Alex Greenberger</b> rounded up <a title="all the famous artworks" href="https://click.email.artnews.com/?qs=752a7036cdc5bf097bbcb8f69f019ab3b704c978021052d71f6dbc7d6b55394c443fdcc23c817489e897afde2f2a27ebfdf17abc85010850" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >all the famous artworks</a> that the Vermont senator was pasted into after being caught in a memorable photograph at Wednesday&#8217;s Inauguration in Washington, D.C. Now it turns out there&#8217;s a design angle, as well. The impressively patterned mittens he was sporting were the work of <b>Jen Ellis</b>, a second-grade teacher from Essex Junction, Vermont, who made them by <a title="sewing discarded wool sweaters" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09aae0fca5e11bcea10443f11f148a10355596fbf6bb7d43a37c3248eb6be2895a3aa550dba005030fd02c14ec86a289e7" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >sewing discarded wool sweaters</a>, <i>Slate reports</i>. Those hoping to acquire a pair are out of luck, though. &#8220;I don’t have much of a mitten business anymore because it really wasn’t worth it,&#8221; Ellis said. &#8220;Independent crafters get really taken for a ride by the federal government.&#8221; For his part, Senator Sanders <a title="told" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09bc4e463ef3a31776a3654884729e72adbf78456382ad6a761bd2f90cfeeca9c00187190d8b45bb7aa87ddfdecc773734" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >told</a> late-night host <b>Seth Meyers</b>, &#8220;I was just sitting there, trying to keep warm, trying to pay attention to what was going on.&#8221; The senator&#8217;s views on <a title="Joseph Kosuth" href="https://click.email.artnews.com/?qs=752a7036cdc5bf090113525f0fa04ac6eae435f0d85f10c5f2e031d18d48c33d0ddb5b29d7ad0c5750f8a6292bc3c34acd439a83230ed8e8" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >Joseph Kosuth</a> remain a mystery.</p> <h3><strong>The Digest</strong></h3> <p>The Art Fund charity in the United Kingdom said that arts institutions are in dire straits amid the pandemic. “Smaller museums in particular, which are so vital to their communities, simply do not have the reserves to see them through this winter,” it said. <a title="[BBC News]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09d187da176cd038d769e529e0af6266a86be5d6445ce43c5f7b40920f04474a0e6268f66b8757c170b3f5316bd0ae7300" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[BBC News]</a></p> <p>Miguel Falomir, the director of the Prado, said that the Madrid institution will work to make its permanent collection displays &#8220;far more inclusive.&#8221; <a title="[The Guardian]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf091de4029c1f848f6488f658d985d37fc7d7b206ec942c1375da50c7923b7c87b5245e833ff6b5641aaf7f2c73f0d4e54c" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[The Guardian]</a></p> <p>German arts organizations are undertaking a study of their carbon emissions. The results are due in the spring. <a title="[Artnet News]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09a7865fd2e83895b1b7f95eb8b803a8e1909eb55ee0e6447fc88fdbaf3d3825f51ed452bbb7b3657156fb11958beec79e" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[Artnet News]</a></p> <p>Artist <a href="https://www.artnews.com/t/gertrud-parker/" id="auto-tag_gertrud-parker" data-tag="gertrud-parker">Gertrud Parker</a>, who founded the <a href="https://www.artnews.com/t/san-francisco-museum-of-craft-and-folk-art/" id="auto-tag_san-francisco-museum-of-craft-and-folk-art" data-tag="san-francisco-museum-of-craft-and-folk-art">San Francisco Museum of Craft and Folk Art</a>, has died at 96. The museum ran from 1982 to 2012. <a title="[San Francisco Chronicle]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09f78a60763b4b50227fd7c60934995f044161de1c1d3b29aac17938bf0c8e49d676472adf26b63be6c6a1d9b4d3eb56e1" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[San Francisco Chronicle]</a></p> <p>Paul Phillips, a beloved guard at the Cameron Art Museum in Wilmington, North Carolina, died at 93. He was a veteran of World War II and the Korean and Vietnam wars. <a title="[Wilmington Star-News]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09c113886a8615bdbb2b4724ca7f13cb30f0262bb1b5edca563ca1def6378a0f85871b7a5397845d3fc7360b2f0a29f1c9" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[Wilmington Star-News]</a></p> <p>Painter Peter Doig has been tapped by Dior’s artistic director of menswear, Kim Jones, to collaborate on his Fall/Winter 2021 collection. <a title="[L’Officiel]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf0938e065428a085aaa92ac434c9922f3213ff704de9437c0665f942101fce9b786ffe78a1ac005c9ecbc606a3d48f94663" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[L’Officiel]</a></p> <p>Riverside, California, will allocate $1 million a year to help operate the forthcoming <a href="https://www.artnews.com/t/cheech-marin/" id="auto-tag_cheech-marin" data-tag="cheech-marin">Cheech Marin</a> Center for Chicano Art and Culture. Its namesake actor, an <i><a title="ARTnews Top 200 Collector" href="https://click.email.artnews.com/?qs=752a7036cdc5bf095ba7995d947bd9a006f0273b7b48dc7d5dcf814922cb0d4948f94bba20fc69baf0db34b6c2bc90479f7d8166f2781d6e" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >ARTnews Top 200 Collector</a></i>, has said he will donate some 500 works from his collection to the institution. <a title="[ABC 7]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf097d3404a788794bc5f25a69718fb83c2c6f32b74aaeea5e7a9bb108ed5855a65084d60de6f691add251b12baae72ca5c5" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[ABC 7]</a></p> <p>Flashback: Take a tour of Marin’s art-rich home. His holdings include pieces by Carlos Almaraz, Patssi Valdez, and Chaz Bojórquez, as Maximilíano Durón reported. <a title="[ARTnews]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09f0252ede380aeaa290d576e332cd0b8ce8e76d4ff3fec66a6287898d59fedca1ed687322dc4a2167d15ce59bf19df83b" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[ARTnews]</a></p> <p>Pioneering photographer Gordon Parks is currently the subject of an exhibition that spans both of Jack Shainman’s Manhattan galleries. <a title="[The Guardian]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf09982fa258aca2b2bc4aecbd42acbfd46f93f1710276ff3f6b332998b9dc36b5fbd531c90f0e15246c20c3d177a0354e2e" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[The Guardian]</a></p> <h3><b>The Kicker</b></h3> <p>A former Houston police officer told the <b>FBI</b> that he went to Washington, D.C. to attend the rally at the <b>U.S. Capitol</b> on January 6 in order to “see history” and has denied being a member of far-right social-media groups, according to an affidavit filed by an FBI agent. The former officer, <b>Tam Dinh Pham</b> allegedly denied being in the Capitol at first, but then agents found images of him in the rotunda “in the deleted photos section of his phone,” <b>Duncan Agnew</b> reports. The affidavit claims that Pham told the agents that <b>“he looked at the historical art on the walls and took photographs and videos inside.”</b> (Who can resist the grandeur of the <i><a title="Apotheosis of Washington" href="https://click.email.artnews.com/?qs=752a7036cdc5bf098d2a6278377afdc6b25293259ad63082f9a3b53737f742ef64065e8c38133179290bb9c3bcb369984b186d23d4c72f00" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >Apotheosis of Washington</a></i>?) Pham resigned from the force amid the investigation. Charges have been filed against him for allegedly &#8220;entering a restricted government building and engaging in disruptive and disorderly conduct,&#8221; according to Agnew. <a title="[The Texas Tribune]" href="https://click.email.artnews.com/?qs=752a7036cdc5bf090a7a0a516519a15088e5aa1b698f11e961d5f8f1a2c0ccb0e915e26be88d31e5e297f07b40ec826391e62b94227f54ee" target="_blank" rel="noopener noreferrer" data-auth="NotApplicable" >[The Texas Tribune]</a></p> <p><i>Thank you for reading. We’ll see you on Monday.</i></p> An Innovative Installation Embeds Lights into a Five-Acre Field to Spur Crop Growth https://www.thisiscolossal.com/2021/01/daan-roosegaarde-grow-light/ Colossal urn:uuid:e88420b6-701f-1dbe-b87a-12f46e7a2f95 Fri, 22 Jan 2021 15:53:04 +0100  Spread across a thick field of leeks in the Netherlands is <a href="https://www.studioroosegaarde.net/" target="_blank" rel="noopener noreferrer">Daan Roosegaarde</a>’s new installation that illuminates the practice of modern farming, highlighting the fields that feed us and their plights. In &#8220;<a href="https://www.studioroosegaarde.net/project/grow" target="_blank" rel="noopener">Grow</a>,&#8221; the Dutch artist and designer, who&#8217;s known for <a href="https://www.thisiscolossal.com/?s=Daan+Roosegaarde">glowing, interactive exhibits</a>, implanted the rows with red, blue, and ultraviolet lights that shine vertically across the crop and shift in entrancing motion. Spanning 20,000-square-meters, the multi-faceted project is both aesthetic and practical: the radiant landscape is visually stunning, while the embedded elements enhance plant growth and cut pesticide use in half. <span class="more"><a href="https://www.thisiscolossal.com/2021/01/daan-roosegaarde-grow-light/">More</a></span> <p><iframe title="vimeo-player" src="https://player.vimeo.com/video/490099399" width="960" height="540" frameborder="0" allowfullscreen="allowfullscreen"><span data-mce-type="bookmark" style="display: inline-block; width: 0px; overflow: hidden; line-height: 0;" class="mce_SELRES_start"></span></iframe></p> <p>Spread across a thick field of leeks in the Netherlands is <a href="https://www.studioroosegaarde.net/" target="_blank" rel="noopener noreferrer">Daan Roosegaarde</a>’s new installation that illuminates the practice of modern farming, highlighting the fields that feed us and their plights. In &#8220;<a href="https://www.studioroosegaarde.net/project/grow" target="_blank" rel="noopener">Grow</a>,&#8221; the Dutch artist and designer, who&#8217;s known for <a href="https://www.thisiscolossal.com/?s=Daan+Roosegaarde">glowing, interactive exhibits</a>, implanted the rows with red, blue, and ultraviolet lights that shine vertically across the crop and shift in entrancing motion.</p> <p>Spanning 20,000-square-meters, the multi-faceted project is both aesthetic and practical: the radiant landscape is visually stunning, while the embedded elements enhance plant growth and cut pesticide use in half. Roosegaarde worked with existing photobiological technology and distinct &#8220;light recipes&#8221; that are thought to improve crop resistance and their metabolisms without added chemicals. &#8220;It gives a new meaning to the word ‘agri-culture’ by reframing the landscape as a living cultural artwork,&#8221; the studio says in <a href="https://www.studioroosegaarde.net/project/grow" target="_blank" rel="noopener">a statement</a>.</p> <p>In a conversation with <a href="https://www.dezeen.com/2021/01/18/daan-roosegaarde-grow-light-installation-sustainable-agriculture/" target="_blank" rel="noopener">Dezeen</a>, Roosegaarde noted that a trip to a local farm spurred the project, which the designer now hopes will act as a blueprint for similar works. The Netherlands is <a href="https://www.nationalgeographic.com/magazine/2017/09/holland-agriculture-sustainable-farming/" target="_blank" rel="noopener">the second-largest agricultural exporter</a> in the world—the U.S. is first—and is known for innovating more sustainable technologies. With some shifts in the combination of lights and placement, this singular project could have wide-reaching implications for crop production around the world.</p> <p>&#8220;Grow&#8221; took Roosegaarde&#8217;s studio about two years to complete and is part of Rabobank&#8217;s artist-in-residence program. It&#8217;s slated to tour 40 countries in the coming months. For more of Roosegaarde&#8217;s work that falls at the intersection of art, design, and science, head to <a href="https://www.instagram.com/roosegaarde/" target="_blank" rel="noopener">Instagram</a>.</p> <p>&nbsp;</p> <div id="attachment_139974" style="width: 2010px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-139974" loading="lazy" class="wp-image-139974 size-full" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-1.jpg" alt="" width="2000" height="1333" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-1.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-1-640x427.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-1-960x640.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-1-1536x1024.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-1-624x416.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-1-640x427@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-1-960x640@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /><p id="caption-attachment-139974" class="wp-caption-text">All images © Daan Roosegaarde, shared with permission</p></div> <p><img loading="lazy" class="alignnone size-full wp-image-139976" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-3.jpg" alt="" width="2000" height="1331" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-3.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-3-640x426.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-3-960x639.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-3-1536x1022.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-3-624x415.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-3-640x426@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-3-960x639@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139977" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-4.jpg" alt="" width="2000" height="1331" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-4.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-4-640x426.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-4-960x639.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-4-1536x1022.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-4-624x415.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-4-640x426@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-4-960x639@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139978" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-5.jpg" alt="" width="2000" height="1331" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-5.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-5-640x426.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-5-960x639.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-5-1536x1022.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-5-624x415.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-5-640x426@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-5-960x639@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139979" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-6.jpg" alt="" width="2000" height="1331" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-6.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-6-640x426.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-6-960x639.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-6-1536x1022.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-6-624x415.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-6-640x426@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-6-960x639@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139980" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-7.jpg" alt="" width="2000" height="1331" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-7.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-7-640x426.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-7-960x639.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-7-1536x1022.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-7-624x415.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-7-640x426@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-7-960x639@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139981" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-8.jpg" alt="" width="2000" height="1331" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-8.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-8-640x426.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-8-960x639.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-8-1536x1022.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-8-624x415.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-8-640x426@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-8-960x639@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> <p><img loading="lazy" class="alignnone size-full wp-image-139975" src="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-2.jpg" alt="" width="2000" height="1331" srcset="https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-2.jpg 2000w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-2-640x426.jpg 640w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-2-960x639.jpg 960w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-2-1536x1022.jpg 1536w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-2-624x415.jpg 624w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-2-640x426@2x.jpg 1280w, https://www.thisiscolossal.com/wp-content/uploads/2021/01/roosegaarde-2-960x639@2x.jpg 1920w" sizes="(max-width: 2000px) 100vw, 2000px" /></p> Press Play: Liam Mour – ‘When I Look Into Your Eyes’ https://www.kaltblut-magazine.com/press-play-liam-mour-when-i-look-into-your-eyes/ KALTBLUT Magazine urn:uuid:14fe5421-ee67-d3f3-79d8-638515bdc57b Fri, 22 Jan 2021 15:00:43 +0100 <p><strong>Berlin-based composer Liam Mour releases yet another tastemaker of his massive and still mostly unheard talent. &#8216;When I </strong>&#8230;</p> Why the Art World Needs Populism https://hyperallergic.com/615843/why-the-art-world-needs-populism/ Hyperallergic urn:uuid:67918a02-f7a8-4632-a214-ab62fe419f19 Fri, 22 Jan 2021 15:00:00 +0100 <figure><img width="720" height="565" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?fit=720%2C565&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?w=2400&amp;quality=100&amp;ssl=1 2400w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=720%2C565&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=1200%2C942&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=768%2C603&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=1536%2C1206&amp;quality=100&amp;ssl=1 1536w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=2048%2C1608&amp;quality=100&amp;ssl=1 2048w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=1568%2C1231&amp;quality=100&amp;ssl=1 1568w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=706%2C554&amp;quality=100&amp;ssl=1 706w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615924" data-permalink="https://hyperallergic.com/615843/why-the-art-world-needs-populism/olympus-digital-camera-401/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?fit=2400%2C1884&amp;quality=100&amp;ssl=1" data-orig-size="2400,1884" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;NOAH FISCHER&quot;,&quot;camera&quot;:&quot;E-M5MarkII&quot;,&quot;caption&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;created_timestamp&quot;:&quot;1610500290&quot;,&quot;copyright&quot;:&quot;NOAH FISCHER&quot;,&quot;focal_length&quot;:&quot;40&quot;,&quot;iso&quot;:&quot;400&quot;,&quot;shutter_speed&quot;:&quot;0.005&quot;,&quot;title&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="OLYMPUS DIGITAL CAMERA" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?fit=720%2C565&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?fit=780%2C612&amp;quality=100&amp;ssl=1" /></figure>While Trump appears to have sparked a progressive uprising in the art world, there remains a battle between a grassroots struggle to redistribute power, and those who place institutional preservation at the center. <figure><img width="720" height="565" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?fit=720%2C565&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?w=2400&amp;quality=100&amp;ssl=1 2400w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=720%2C565&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=1200%2C942&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=768%2C603&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=1536%2C1206&amp;quality=100&amp;ssl=1 1536w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=2048%2C1608&amp;quality=100&amp;ssl=1 2048w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=1568%2C1231&amp;quality=100&amp;ssl=1 1568w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?resize=706%2C554&amp;quality=100&amp;ssl=1 706w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="615924" data-permalink="https://hyperallergic.com/615843/why-the-art-world-needs-populism/olympus-digital-camera-401/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?fit=2400%2C1884&amp;quality=100&amp;ssl=1" data-orig-size="2400,1884" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;NOAH FISCHER&quot;,&quot;camera&quot;:&quot;E-M5MarkII&quot;,&quot;caption&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;created_timestamp&quot;:&quot;1610500290&quot;,&quot;copyright&quot;:&quot;NOAH FISCHER&quot;,&quot;focal_length&quot;:&quot;40&quot;,&quot;iso&quot;:&quot;400&quot;,&quot;shutter_speed&quot;:&quot;0.005&quot;,&quot;title&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="OLYMPUS DIGITAL CAMERA" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?fit=720%2C565&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Breach-Populism-Article-Noah-Fischer.jpeg?fit=780%2C612&amp;quality=100&amp;ssl=1" /></figure> <p>As we watched the outgoing president’s cult of rabid followers storm the capital, we spectators could at least feel secure in the knowledge that, although we might have witnessed the ugly truth about what America really is—that sort of populism is not a significant part of the art world I am part of. Far from converting us into his glazed-over MAGA army, Trump’s presidency triggered a shift in the opposite direction —art institutions mounted exhibitions by the very groups Trump was targeting.&nbsp; And problematic directors, professors, and top curators’ heads finally began rolling. Even trustees no longer appeared safe in their own institutions, as the activism-powered <a href="https://hyperallergic.com/511052/warren-kanders-resigns/">ouster of Warren Kanders</a> and the <a href="https://hyperallergic.com/597819/new-documents-purdue-pharma-sackler/">opioid-pushing Sacklers</a> seem to illustrate. Trump appears to have sparked a progressive uprising in the art world.</p> <p>But it is not really an uprising. On closer inspection, there is an asymmetric battle between a grassroots struggle to redistribute power, and those who place institutional preservation at the center. Ironically, Trump, by dint of his very nastiness, gave the upper hand to institutional preservationists, and not just by threats to defund sanctuary cities, which cast institutions as victims. Because they specialize in representation, museums became exemplary producers of the resistance values newly touted on “This House We Believe” signs.&nbsp; Meanwhile, a labor union movement is rising among the precariat. Yet the very institutions mounting exhibitions aligned with the anti-Trump resistance, are <a href="https://hyperallergic.com/581180/new-museum-recalls-some-furloughed-workers-union-calls-for-greater-reform/">snuffing out this burgeoning organizing</a>. They are helped along by associations between Trumpism and a <a href="https://theintercept.com/2018/09/18/2016-election-race-class-trump/">white-anxiety ethos</a>, which now taints a working class orientation.</p> <p>In short, these have been victorious years for anti-populists, who maintained their economic status quo while successfully rebranding exclusive cities, companies, and cultural institutions as the frontlines of progressive struggle.&nbsp; But what is populism, anyway?</p> <p>Just about four years ago, President Obama said: “I’m not prepared to concede the notion that some of the rhetoric that’s been popping up is populist.” He was referring to Trump’s racial-bullhorn campaign rallies, and still believed the term to be contested — that it could mean standing with the people in their struggle against financial elites — the rhetoric he’d employed in his 2008 campaign. &nbsp;But after the 2016 election, US populism has been pulled into line with Europe’s decades-long use of the term to mean basically, nativism — and the hazardous and cynical manipulation of an ignorant populace by authoritarian leaders.</p> <p>This negative framing of populism isn’t new to contemporary art. While major museums have long tipped their hats to popular tastes with exhibitions on Star Wars or motorcycles, skepticism of the general populace is embedded not just in the art world’s proximity to the one percent of one percent, but arguably in the socially vulnerable nature of the avant-garde. In the late ‘90s, for example, NYC mayor Rudy Giuliani deemed the <a href="https://archive.nytimes.com/www.nytimes.com/library/arts/092499brooklyn-museum.html?mcubz=1">YBA “Sensation” show</a> which had travelled to the Brooklyn Museum, “sick stuff,” focusing on Chris Ofili’s “Holy Virgin Mary” (1996) painting as an offence worthy of defunding the museum.</p> <figure class="wp-block-image size-large"><img data-attachment-id="615925" data-permalink="https://hyperallergic.com/615843/why-the-art-world-needs-populism/olympus-digital-camera-402/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?fit=2400%2C1902&amp;quality=100&amp;ssl=1" data-orig-size="2400,1902" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;3.2&quot;,&quot;credit&quot;:&quot;NOAH FISCHER&quot;,&quot;camera&quot;:&quot;E-M5MarkII&quot;,&quot;caption&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;created_timestamp&quot;:&quot;1608591557&quot;,&quot;copyright&quot;:&quot;NOAH FISCHER&quot;,&quot;focal_length&quot;:&quot;40&quot;,&quot;iso&quot;:&quot;200&quot;,&quot;shutter_speed&quot;:&quot;0.00625&quot;,&quot;title&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="OLYMPUS DIGITAL CAMERA" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?fit=720%2C571&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?fit=780%2C618&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="618" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?resize=780%2C618&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615925" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?resize=1200%2C951&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?resize=720%2C571&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?resize=768%2C609&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?resize=1536%2C1217&amp;quality=100&amp;ssl=1 1536w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?resize=2048%2C1623&amp;quality=100&amp;ssl=1 2048w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?resize=1568%2C1243&amp;quality=100&amp;ssl=1 1568w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?resize=706%2C560&amp;quality=100&amp;ssl=1 706w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Giuliani-Populism-Article-Noah-Fischer.jpeg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>“The Moralist” (2021) 14” x 11” pen and ink on paper, digital color</figcaption></figure> <p>By the Trump era, contemporary art became an even juicier populist punching bag. “Spirit Cooking” (1987)a performance by Marina Abramovic, later reenacted at dinner gatherings, became the centerpiece of a massive conspiracy theory, which claimed to reveal child sacrifice and rampant Satan worship among Democratic elites — Abramovic received daily death threats as a result. As the capitol’s breach shows us, that is only a taste of the danger of right-wing populism. And yet, the art world’s anti-populism presents a different sort of danger.</p> <figure class="wp-block-image size-large"><img data-attachment-id="615926" data-permalink="https://hyperallergic.com/615843/why-the-art-world-needs-populism/olympus-digital-camera-403/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?fit=2032%2C2560&amp;quality=100&amp;ssl=1" data-orig-size="2032,2560" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;3.2&quot;,&quot;credit&quot;:&quot;NOAH FISCHER&quot;,&quot;camera&quot;:&quot;E-M5MarkII&quot;,&quot;caption&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;created_timestamp&quot;:&quot;1608591661&quot;,&quot;copyright&quot;:&quot;NOAH FISCHER&quot;,&quot;focal_length&quot;:&quot;40&quot;,&quot;iso&quot;:&quot;200&quot;,&quot;shutter_speed&quot;:&quot;0.008&quot;,&quot;title&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="OLYMPUS DIGITAL CAMERA" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?fit=720%2C907&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?fit=780%2C983&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="983" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer.jpeg?resize=780%2C983&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615926" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?resize=1200%2C1512&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?resize=720%2C907&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?resize=768%2C968&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?resize=1219%2C1536&amp;quality=100&amp;ssl=1 1219w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?resize=1625%2C2048&amp;quality=100&amp;ssl=1 1625w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?resize=1568%2C1976&amp;quality=100&amp;ssl=1 1568w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?resize=706%2C890&amp;quality=100&amp;ssl=1 706w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Marina-Populism-Article-Noah-Fischer-scaled.jpeg?w=2032&amp;quality=100&amp;ssl=1 2032w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>“Democrats at Art Gala” (2021) 11” x 14” pen and ink on paper, digital color</figcaption></figure> <p>In his short book <em>What is Populism</em>, German political philosopher and Princeton professor <a href="https://politics.princeton.edu/people/jan-werner-mueller">Jan-Werner Müller</a> calls populism “the permanent shadow of representative politics.” His book argues that populism wherever it is found, is based on narrowly defining “the people,” so that populists always oppose pluralism. And yet, anti-populism conveniently justifies the rule of a benevolent elite, tasked to defend the nation against the uncouth, messy, and dangerous impulses of its masses. The book was assigned for the incoming Princeton class of 2021—an appropriate first instruction for a stratum preparing to helm the nation’s top institutions.</p> <p>In a representative democracy, elites do, to some extent, have to contend with the voice of the street. Anti-populism therefore depends on incorporating popular imagery and language —even including the language of uprising— into the walls of their impenetrable institutions. The instruments of art, academia, and public relations/advertising are called on to perform this incorporation. Georgetown philosophy professor Olúfẹ́mi Táíwò explains how the concept of “elite capture” can be used to describe, “how political projects can be hijacked — in principle or in effect — by the well positioned and resourced.” In considering how Trump-era politics played out in the art world, I think we can perceive an example of elite capture in the controversy around “Open Casket” (2016).</p> <p>The “Open Casket” controversy addressed a white artist painting, and the Whitney museum exhibiting, an image based on the famous photograph of Emmett Till’s tortured corpse. The ensuing protests seemed to bring the Whitney to its knees. Criticism by Hannah Black, the most prominent detractor of the painting, hinged on her belief that the subject was “not correctly represented.” Black’s open letter <a href="https://blackcontemporaryart.tumblr.com/post/158661755087/please-read-share-hannah-blacks-open-letter-to">published on Tumblr</a>, explained that: “The subject matter is not Schutz’s; white free speech and white creative freedom have been founded on the constraint of others, and are not natural rights.” All those pale faces — the majority of white US voters who had supported Trump, seemed to hover like a ghostly certification over this claim.</p> <p>The narrow focus on representation was a gift to elites. It rendered gatekeepers, and especially, collectors, as the primary actors who could rectify the issue as it was being framed. Industry publications smugly labeled the ensuing spike in more diverse exhibitions and auctions, &nbsp;a “<a href="https://www.swanngalleries.com/news/african-american-art/2019/08/women-of-color-artists-featured-in-african-american-fine-art-fall-2019/">market correction</a>,” a term which implied a faith not so much in social justice, as in commercial markets to uphold social justice — a faith which the market crash of 2008 <a href="https://www.theatlantic.com/business/archive/2015/06/black-recession-housing-race/396725/">should have shattered</a> completely. Furthermore, this faith was placed in one of the most unregulated (corrupt) corners of the market.</p> <p>Major art collectors (mostly white) were benefitting from the Trump deregulation and tax cuts, while investing some of their surplus wealth into the rebranding opportunity offered by the anti-Trump resistance. They could literally turn a profit on fulfilling the activist demand. As Olúfẹ́mi Táíwò summarizes: “elites get outsize control over the ideas in circulation about identities by, more or less, the same methods and for the same reasons that they get control over everything else.”</p> <figure class="wp-block-image size-large"><img data-attachment-id="615927" data-permalink="https://hyperallergic.com/615843/why-the-art-world-needs-populism/olympus-digital-camera-404/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?fit=2063%2C2560&amp;quality=100&amp;ssl=1" data-orig-size="2063,2560" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;4&quot;,&quot;credit&quot;:&quot;NOAH FISCHER&quot;,&quot;camera&quot;:&quot;E-M5MarkII&quot;,&quot;caption&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;created_timestamp&quot;:&quot;1609280065&quot;,&quot;copyright&quot;:&quot;NOAH FISCHER&quot;,&quot;focal_length&quot;:&quot;40&quot;,&quot;iso&quot;:&quot;400&quot;,&quot;shutter_speed&quot;:&quot;0.00625&quot;,&quot;title&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="OLYMPUS DIGITAL CAMERA" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?fit=720%2C893&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?fit=780%2C968&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="968" src="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer.jpeg?resize=780%2C968&#038;quality=100&#038;ssl=1" alt="" class="wp-image-615927" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?resize=1200%2C1489&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?resize=720%2C893&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?resize=768%2C953&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?resize=1238%2C1536&amp;quality=100&amp;ssl=1 1238w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?resize=1651%2C2048&amp;quality=100&amp;ssl=1 1651w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?resize=1568%2C1946&amp;quality=100&amp;ssl=1 1568w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Sothebys2-Populism-Article-Noah-Fischer-scaled.jpeg?resize=706%2C876&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>“The Auction” (2021) 11” x 14” pen and ink on paper, digital color</figcaption></figure> <p>This sort of trickle-down scheme has never been an effective form of redistribution of power. &nbsp;As the one percent have reeled-in an ever greater share of the nation’s wealth, forcing a bitter zero-sum existence among poorer Americans, <a href="https://www.pewresearch.org/fact-tank/2017/11/01/how-wealth-inequality-has-changed-in-the-u-s-since-the-great-recession-by-race-ethnicity-and-income/">racial disparities have widened</a>, a reality veiled by the landscape of increasingly sensitive corporate PR.</p> <p>Cornell West calls an anti-populist stance “self-serving pragmatism.” It rests on the manufactured sense of impossibility that the system can be radically improved for the many — indeed that redistributing wealth and power is a desirable goal at all. Anti-populism thrives amid cynicism that working class people are capable of forming interracial coalitions and resisting bad-faith leadership. And in the wake of the 74 million 2020 Trump voters, it’s not hard to be cynical about this. But anti-populism suppresses a history of left populism.</p> <p>The left populist tradition as it has emerged through US history seeks to bridge the gap between struggles around poverty and racial justice. &nbsp;One current example is Reverend William Barber’s <a href="https://www.poorpeoplescampaign.org/">Poor People’s Campaign</a>, an echo of the 1968 interracial march on Washington demanding jobs, unemployment insurance, and a fair minimum wage — the march led by Dr. Martin Luther King in the last year of his life. Dr. King called it: “the beginning of a new co-operation, understanding, and a determination by poor people of all colors and backgrounds to assert and win their right to a decent life and respect for their culture and dignity.”</p> <p>This interracial optimism traces back to the original Populism of the 1890s “Dormant Seasons” by Photographer Erinn Springer https://www.booooooom.com/2021/01/22/dormant-seasons-by-photographer-erinn-springer/ BOOOOOOOM! – CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS urn:uuid:03723127-635f-8738-7dc4-6aab3ab721e2 Fri, 22 Jan 2021 14:54:38 +0100 Photographer Erinn Springer explores her midwestern roots in her recent series, “Dormant Seasons.” Originally from Wisconsin, Springer went to school in New York City and is currently based between both places. Initially started as a way to interact with her family and greater Wisconsin community, the series has blossomed into a reflective exploration of self, &#8230; <a href="https://www.booooooom.com/2021/01/22/dormant-seasons-by-photographer-erinn-springer/">Continued</a> <p><span style="font-weight: 400;">Photographer <a href="https://springerinn.com/" target="_blank" rel="noopener noreferrer">Erinn Springer</a> explores her midwestern roots in her recent series, “Dormant Seasons.” Originally from Wisconsin, Springer went to school in New York City and is currently based between both places. Initially started as a way to interact with her family and greater Wisconsin community, the series has blossomed into a reflective exploration of self, home, and the cyclical nature of the land we inhabit. </span></p> <p><span style="font-weight: 400;">“Like the earth, human behavior revolves around the sun,” she explains. “We operate on cycles of warm and cold, awake and asleep, light and shadow. Winter, a time of rest before the verdant bloom of summer, is dormant on the surface, but when experienced and examined closely, it is alive with a warmth that deepens our sense of place and defines our sense of home. This essay – in all it’s peculiar character – is a microcosm of the larger story of America’s soil and streams, a personal narrative of the cycles and traditions that inextricably, exquisitely, tie us to the land.”</span></p> Photographer Spotlight: Beth Garrabrant https://www.booooooom.com/2021/01/22/photographer-spotlight-beth-garrabrant/ BOOOOOOOM! – CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS urn:uuid:b919673c-9dd4-6d7c-ff95-65d9d569fac6 Fri, 22 Jan 2021 14:53:37 +0100 Mizna Wada’s “Kowaii Club” and Friends at Nucleus Portland.In... https://supersonicart.com/post/641018433965899776 SUPERSONIC ART urn:uuid:f665e436-9c09-a448-250e-adbbaaa0dfe6 Fri, 22 Jan 2021 14:40:16 +0100 <img src="https://64.media.tumblr.com/6b84c40bf55cfe595aa4023f534e6b3a/5f3a7802820abf19-e5/s500x750/7f5de1b261ec7282e460fcea21efca8faa3e0cf1.png"/><br/> <br/><img src="https://64.media.tumblr.com/e2951282a07df426e282676886b201bf/5f3a7802820abf19-15/s500x750/42257f8edc74431624a944b53a6cc0742ecdbe87.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/fb14b63dddec834cdfe998cc9bcc775b/5f3a7802820abf19-c7/s500x750/aee3a2e26447b2ad7104f3ce89249807bd414504.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/731e4ae2d6ec70cd34408a07b92ca16a/5f3a7802820abf19-87/s500x750/6fbb3cea559a5aba085c845e55cd7ca3a012cdbd.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/844bcdd42e9507a2c1b7a85417c2f52b/5f3a7802820abf19-e3/s500x750/d40837a5e055319b602ae03c1d74779e8ba18805.jpg"/><br/> <br/><h2><a href="https://supersonicart.com/post/641018433965899776/mizna-wadas-kowaii-club-and-friends-at-nucleus" target="_blank">Mizna Wada’s “Kowaii Club” and Friends at Nucleus Portland.</a></h2><p>In addition to <a href="https://supersonicart.com/post/640961609668395008/mizna-wadas-kowaii-club-at-nucleus-portland-a" target="_blank">Mizna Wada’s solo exhibition</a>, “<a href="https://nucleusportland.com/collections/kowaii21" target="_blank">Kowaii Club</a>,” Mizna Wada invited her friends to showcase their spooky art as well over at <a href="https://nucleusportland.com/collections/kowaii21" target="_blank">Nucleus Portland</a> in Portland, Oregon.</p><p><a href="https://nucleusportland.com/collections/kowaii21" target="_blank">Check it out!</a></p><p>-</p><p><i><a href="http://bit.ly/1SaVF95" target="_blank">Be sure to follow Supersonic Art on Instagram!</a></i></p> Jessica Hayllar http://linesandcolors.com/2021/01/22/jessica-hayllar/?utm_source=rss&utm_medium=rss&utm_campaign=jessica-hayllar Lines and Colors :: a blog about drawing, painting, illustration, comics, concept art and other visual arts urn:uuid:eb7d384a-4d8b-298e-9069-7b4e27336e25 Fri, 22 Jan 2021 14:04:31 +0100 Jessica Hayllar, a British painter active in the late 19th and early 20th centuries, focused largely on interiors and domestic scenes, and later in her career, on florals. Like her four sisters, Hayllar was tought by her father, James Hayllar, who was a painter of <a class="more-link" href="http://linesandcolors.com/2021/01/22/jessica-hayllar/">Read More ...</a> <p><img src="http://www.linesandcolors.com/images/2021-01/hayllar_450a.jpg" width="450" height="574" alt="Jessica Hayllar interiors and still life" /><br /> <img src="http://www.linesandcolors.com/images/2021-01/hayllar_450b.jpg" width="450" height="4161" alt="Jessica Hayllar interiors and still life" /></p> <p>Jessica Hayllar, a British painter active in the late 19th and early 20th centuries, focused largely on interiors and domestic scenes, and later in her career, on florals. </p> <p>Like her four sisters, Hayllar was tought by her father, James Hayllar, who was a painter of portraits, landscape and genre subjects. Jessica took painting to heart with more dedication than her sisters, though her sister Edith also successfully exhibited.</p> <p>Jessica Hayllar&#8217;s work was less academically restrained than that of her father. Her interiors and florals are often bathed in sunlight from windows and doors that open to yards and gardens. Her floral still life subjects usually featured visually appealing pottery and often included more of the room interior than typical still life arrangements.</p> <div style="height: 30px;"> </div><a class="synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-facebook nolightbox" data-provider="facebook" target="_blank" rel="nofollow" title="Share on Facebook" href="http://www.facebook.com/sharer.php?u=http%3A%2F%2Flinesandcolors.com%2F2021%2F01%2F22%2Fjessica-hayllar%2F&#038;t=Jessica%20Hayllar&#038;s=100&#038;p&#091;url&#093;=http%3A%2F%2Flinesandcolors.com%2F2021%2F01%2F22%2Fjessica-hayllar%2F&#038;p&#091;images&#093;&#091;0&#093;=http%3A%2F%2Fwww.linesandcolors.com%2Fimages%2F2021-01%2Fhayllar_450a.jpg&#038;p&#091;title&#093;=Jessica%20Hayllar" style="font-size: 0px; width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px;"><img alt="Facebook" title="Share on Facebook" class="synved-share-image 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src="http://linesandcolors.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/48x48/pinterest.png" /></a><a class="synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-linkedin nolightbox" data-provider="linkedin" target="_blank" rel="nofollow" title="Share on Linkedin" href="http://www.linkedin.com/shareArticle?mini=true&#038;url=http%3A%2F%2Flinesandcolors.com%2F2021%2F01%2F22%2Fjessica-hayllar%2F&#038;title=Jessica%20Hayllar" style="font-size: 0px; width:24px;height:24px;margin:0;margin-bottom:5px;"><img alt="linkedin" title="Share on Linkedin" class="synved-share-image synved-social-image synved-social-image-share" width="24" height="24" style="display: inline; width:24px;height:24px; margin: 0; padding: 0; border: none; box-shadow: none;" src="http://linesandcolors.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/48x48/linkedin.png" /></a> Week in Review: Internet Reacts to Joe Biden’s Inauguration; Comic Auctions Break Records https://hyperallergic.com/616375/week-in-review-internet-reacts-to-joe-bidens-inauguration-comic-auctions-break-records/ Hyperallergic urn:uuid:a8c1cc25-915d-b528-dc6c-c8bb76bfbdb2 Fri, 22 Jan 2021 13:01:00 +0100 <figure><img width="720" height="449" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?fit=720%2C449&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?resize=720%2C449&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?resize=768%2C479&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?resize=706%2C441&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616422" data-permalink="https://hyperallergic.com/616375/week-in-review-internet-reacts-to-joe-bidens-inauguration-comic-auctions-break-records/birt-of-bernie/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?fit=1200%2C749&amp;quality=100&amp;ssl=1" data-orig-size="1200,749" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="birt of bernie" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?fit=720%2C449&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?fit=780%2C487&amp;quality=100&amp;ssl=1" /></figure>Also, the city of Chicago has promised $2.5 million in grants to local arts organizations, and more. <figure><img width="720" height="449" src="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?fit=720%2C449&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?w=1200&amp;quality=100&amp;ssl=1 1200w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?resize=720%2C449&amp;quality=100&amp;ssl=1 720w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?resize=768%2C479&amp;quality=100&amp;ssl=1 768w, https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?resize=706%2C441&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616422" data-permalink="https://hyperallergic.com/616375/week-in-review-internet-reacts-to-joe-bidens-inauguration-comic-auctions-break-records/birt-of-bernie/" data-orig-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?fit=1200%2C749&amp;quality=100&amp;ssl=1" data-orig-size="1200,749" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="birt of bernie" data-image-description="" data-medium-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?fit=720%2C449&amp;quality=100&amp;ssl=1" data-large-file="https://i0.wp.com/hyperallergic.com/wp-content/uploads/2021/01/birt-of-bernie.jpg?fit=780%2C487&amp;quality=100&amp;ssl=1" /></figure> <p><em>Week in Review is a weekly collection of news, developments, and stirrings in the art world. </em><a href="https://hyperallergic.com/newsletters?utm_source=page&amp;utm_campaign=artmovements" target="_blank" rel="noreferrer noopener"><em>Subscribe</em></a><em> to receive these posts as a weekly newsletter.</em></p> <p>Amanda Gorman, the <a href="https://hyperallergic.com/616313/how-amanda-gormans-poetry-roused-a-country-that-is-bruised-but-whole/" target="_blank" rel="noreferrer noopener">youngest poet to ever perform at a US presidential inauguration</a>, moved audiences across the nation with her perspective as “a skinny black girl descended from slaves and raised by a single mother can dream of becoming president, only to find herself reciting for one.”&nbsp;</p> <p>See the <a href="https://hyperallergic.com/615996/the-very-first-photograph-of-a-us-presidential-inauguration/" target="_blank" rel="noreferrer noopener">first photograph of a US presidential inauguration</a> from James Buchanan&#8217;s swearing-in in 1857. The shot was captured when the recent discovery of the wet-plate collodion process allowed for crisp captures of landmark moments to be faithfully documented and easily disseminated.</p> <p>Artist Adrian Wilson bade farewell to Trump by <a href="https://hyperallergic.com/616145/on-inauguration-day-artists-remixes-nyc-street-signs-with-a-cheeky-farewell-to-trump/" target="_blank" rel="noreferrer noopener">remixing New York City street signs</a> with cheeky messages.</p> <p>See the <a href="https://hyperallergic.com/616086/inauguration-2021-memes/" target="_blank" rel="noreferrer noopener">best inauguration memes</a>, from Bernie Sanders&#8217;s mittens to Lady Gaga&#8217;s <em>Hunger Games</em>-esque brooch.</p> <p>A stuffed bird, a framed photograph of Trump with the Chinese president, and a bust of Abraham Lincoln were some of the items that were seen <a href="https://hyperallergic.com/615254/are-trump-staffers-taking-home-white-house-artworks-that-belong-to-the-public/" target="_blank" rel="noreferrer noopener">carried out of the White House </a>after Donald Trump&#8217;s second impeachment, leading correspondents to wonder if the works belonged to the federal government.</p> <p>The director of the Iraqi State Board of Antiquities and Heritage said the Taq Kasra, a 1,500-year-old Persian archway, is in <a href="https://hyperallergic.com/613746/1500-year-old-archway-partially-collapses-in-iraq-prompting-urgent-calls-for-help/" target="_blank" rel="noreferrer noopener">“dangerous and critical” condition</a> and needs immediate support to prevent further collapse.</p> <p>The city of Chicago, Illinois promised <a href="https://hyperallergic.com/614874/chicago-promises-2-5-million-in-grants-to-artists-and-art-organizations/" target="_blank" rel="noreferrer noopener">$2.5 million in grants</a> to local cultural organizations. It will allocate $500,000 to commission up to 10 public artworks; $250,000 for small local projects; and $1.7 million for nonprofit arts organizations throughout Chicago.</p> <p>A pristine copy of <em>Batman No. 1</em> (1940) recently became the most <a href="https://hyperallergic.com/616183/holy-bidding-batman-bruce-wayne-and-tintin-break-comic-art-auction-records/" target="_blank" rel="noreferrer noopener">expensive Batman title ever sold</a>, and a rejected 1936 Tintin cover illustration became the most expensive work of comic book art to go to auction.</p> <h2 id="h-awards-accolades">Awards &amp; Accolades</h2> <p>Shani Peters was named the 2021 national artist-in-residence of the Mississippi Museum of Art’s Center for Art and Public Exchange.</p> <p>The Carolyn Glasoe Bailey Foundation Art Prize will be awarded to Porfirio Gutiérrez, and the Carolyn Glasoe Bailey Foundation Minnesota Art Prize will be awarded to Jovan C. Speller.</p> <h2 id="h-transitions">Transitions</h2> <p>Rele Gallery from Nigeria will <a href="https://hyperallergic.com/615727/rele-gallery-opens-in-los-angeles/" target="_blank" rel="noreferrer noopener">open an outpost</a> in Los Angeles, California on February 1.</p> <p>Flora Yukhnovich is now represented by Victoria Miro gallery.</p> <h2 id="h-in-memoriam">In Memoriam</h2> <p>Mary Catherine Bateson (1939–2021), writer and anthropologist | <em><a href="https://www.washingtonpost.com/local/obituaries/mary-catherine-bateson-anthropologist-and-author-of-composing-a-life-dies-at-81/2021/01/15/1079431e-5771-11eb-a08b-f1381ef3d207_story.html" target="_blank" rel="noreferrer noopener">Washington Post</a></em></p> <p>Roger Mandle (1941–2021), museum director who helped establish the Massachusetts Design Art &amp; Technology Institute and helmed the Qatar Museums Authority and Rhode Island School of Design | <em><a href="https://www.nytimes.com/2021/01/19/arts/design/roger-mandle-dead.html" target="_blank" rel="noreferrer noopener">New York Times</a></em></p> <p>Elijah Moshinsky (1946–2021), opera director | <a href="https://operawire.com/obituary-elijah-moshinsky-dies-at-75/" target="_blank" rel="noreferrer noopener">Opera Wire</a></p> <p>Randy Parton (1953–2021), country singer and brother and collaborator of Dolly Parton | <a href="https://www.cnn.com/2021/01/21/entertainment/randy-parton-obit-trnd/index.html" target="_blank" rel="noreferrer noopener">CNN</a></p> <p>Margo St. James (1937–2021), artist and sex worker advocate | <a href="https://sfist.com/2021/01/20/sfs-trailblazing-sex-worker-activist-margo-st-james-has-died/" target="_blank" rel="noreferrer noopener">SFist</a></p> <p>Helga Weyhe (1922–2021), bookseller at one of Germany&#8217;s oldest bookstores | <em><a href="https://www.nytimes.com/2021/01/14/world/europe/helga-weyhe-dead.html" target="_blank" rel="noreferrer noopener">New York Times</a></em></p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=InaMTaJEU3M:_rxK0uO1_Ms:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=InaMTaJEU3M:_rxK0uO1_Ms:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=InaMTaJEU3M:_rxK0uO1_Ms:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=InaMTaJEU3M:_rxK0uO1_Ms:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/InaMTaJEU3M" height="1" width="1" alt=""/> Rick Owens Fall/Winter 2021 https://www.kaltblut-magazine.com/rick-owens-fall-winter-2021/ KALTBLUT Magazine urn:uuid:6aed4df4-e7be-4069-cf30-0cef7f6ea137 Fri, 22 Jan 2021 13:00:27 +0100 <p><strong>Rick Owens unveiled his Fall/Winter 2021 Menswear show, &#8220;Gethsemane,&#8221; in Venice. The collection is layered, oversized leather vests </strong>&#8230;</p> Artist Showcase, Winter 2021 https://www.artsyshark.com/2021/01/22/artist-showcase-winter-2021/ Artsy Shark urn:uuid:5b6126b9-5146-70ab-2ccd-35f7b4665375 Fri, 22 Jan 2021 13:00:25 +0100 <p>Twenty-six artists share some of their favorite work in this exciting visual showcase.</p> <p>The post <a rel="nofollow" href="https://www.artsyshark.com/2021/01/22/artist-showcase-winter-2021/">Artist Showcase, Winter 2021</a> appeared first on <a rel="nofollow" href="https://www.artsyshark.com">Artsy Shark</a>.</p> <h4>Twenty-six artists share some of their favorite work in this exciting visual showcase. Enjoy, and click the name of each artist to visit their website for more.</h4> <p>&nbsp;</p> <div id="attachment_53387" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53387" loading="lazy" class="size-full wp-image-53387" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Jensen-Marne-Silent-Shoal-acrylic-on-canvas-30x24-1.jpg" alt="painting of a body of water by Marne Jensen" width="500" height="400" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Jensen-Marne-Silent-Shoal-acrylic-on-canvas-30x24-1.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/Jensen-Marne-Silent-Shoal-acrylic-on-canvas-30x24-1-450x360.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/Jensen-Marne-Silent-Shoal-acrylic-on-canvas-30x24-1-38x30.jpg 38w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53387" class="wp-caption-text">&#8220;Silent Shoal&#8221; acrylic on canvas, 30&#8243; x 24&#8243; by artist Marne Jensen</p></div> <p>&nbsp;</p> <p><a title="Marne Jensen" href="http://www.marnejensenart.com" target="_blank" rel="noopener"><strong>Marne Jensen </strong></a></p> <p>This is a peaceful water scene with subtle cool blue tones that bump up against a distant shoreline. Small areas of brown and sienna in the foreground suggest a shallow cove that is safe and calm.</p> <p>&nbsp;</p> <div id="attachment_53386" style="width: 451px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53386" loading="lazy" class="size-full wp-image-53386" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Sauls-Lynda-Enduring-Love-oil-36-x36.jpg" alt="oil painting of succulents by Lynda Sauls" width="441" height="451" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Sauls-Lynda-Enduring-Love-oil-36-x36.jpg 441w, https://www.artsyshark.com/wp-content/uploads/2021/01/Sauls-Lynda-Enduring-Love-oil-36-x36-29x30.jpg 29w" sizes="(max-width: 441px) 100vw, 441px" /><p id="caption-attachment-53386" class="wp-caption-text">&#8220;Enduring Love&#8221; oil, 36&#8243; x 36&#8243; by artist Lynda Sauls</p></div> <p>&nbsp;</p> <p><a title="Lynda Sauls" href="http://www.lyndasaulsartist.com" target="_blank" rel="noopener"><strong>Lynda Sauls  </strong></a></p> <p>Sizable paintings of plants and flowers jar the attention—drawing the viewer into a place of stillness, to hear the whispers. Love is vulnerable, unexpected, yielding and humble. Open your heart to receive.</p> <p>&nbsp;</p> <div id="attachment_53388" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53388" loading="lazy" class="size-full wp-image-53388" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Homeier-Meg-Transition-alcohol-ink-and-acrylic-on-Yupo-paper-mounted-on-canvas-30x30-1.jpg" alt="abstract alcohol ink and acrylic painting by Meg Homeier" width="500" height="500" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Homeier-Meg-Transition-alcohol-ink-and-acrylic-on-Yupo-paper-mounted-on-canvas-30x30-1.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/Homeier-Meg-Transition-alcohol-ink-and-acrylic-on-Yupo-paper-mounted-on-canvas-30x30-1-450x450.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/Homeier-Meg-Transition-alcohol-ink-and-acrylic-on-Yupo-paper-mounted-on-canvas-30x30-1-150x150.jpg 150w, https://www.artsyshark.com/wp-content/uploads/2021/01/Homeier-Meg-Transition-alcohol-ink-and-acrylic-on-Yupo-paper-mounted-on-canvas-30x30-1-30x30.jpg 30w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53388" class="wp-caption-text">&#8220;Transition&#8221; alcohol ink and acrylic on Yupo paper mounted on canvas, 30&#8243; x 30&#8243; by artist Meg Homeier</p></div> <p>&nbsp;</p> <p><a title="Meg Homeier" href="http://www.megfinearts.com" target="_blank" rel="noopener"><strong>Meg Homeier</strong></a></p> <p>Mysterious and ever-changing is the essence of alcohol inks. I corral the movement with heavier acrylics, letting the inks bleed and weave into the heavier medium. It’s a balance of control over chaos.</p> <p>&nbsp;</p> <div id="attachment_53392" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53392" loading="lazy" class="size-full wp-image-53392" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Beck-Rachel-S.-Two-of-a-Kind-oil-16x20-1.jpg" alt="oil painting of two crows by Rachel S. Beck" width="500" height="500" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Beck-Rachel-S.-Two-of-a-Kind-oil-16x20-1.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/Beck-Rachel-S.-Two-of-a-Kind-oil-16x20-1-450x450.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/Beck-Rachel-S.-Two-of-a-Kind-oil-16x20-1-150x150.jpg 150w, https://www.artsyshark.com/wp-content/uploads/2021/01/Beck-Rachel-S.-Two-of-a-Kind-oil-16x20-1-30x30.jpg 30w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53392" class="wp-caption-text">&#8220;Two of a Kind&#8221; oil, 16&#8243; x 20&#8243; by artist Rachel S. Beck</p></div> <p><img class="aligncenter size-full wp-image-53389" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Vandenberg-Carole-To-Everything-there-is-a-Season-digital-photograph-13x20-1.tif" alt="" /></p> <h4><img class="aligncenter size-full wp-image-53389" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Vandenberg-Carole-To-Everything-there-is-a-Season-digital-photograph-13x20-1.tif" alt="" /></h4> <p><a title="Rachel S. Beck" href="https://fineartamerica.com/profiles/2-rachel-beck" target="_blank" rel="noopener"><strong>Rachel S. Beck</strong></a></p> <p>I believe inspiration is everywhere. I currently work with oil on a variety of subjects. I prefer a traditional approach; however, I also incorporate a touch of surrealism with the use of bright colors and visible brushstrokes.</p> <p>&nbsp;</p> <div id="attachment_53393" style="width: 339px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53393" loading="lazy" class="size-full wp-image-53393" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Berman-Rochelle-Venice-Mirror-digital-photography-30x40-1.jpg" alt="digital photograph of a canal in Venice by Rochelle Berman" width="329" height="500" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Berman-Rochelle-Venice-Mirror-digital-photography-30x40-1.jpg 329w, https://www.artsyshark.com/wp-content/uploads/2021/01/Berman-Rochelle-Venice-Mirror-digital-photography-30x40-1-296x450.jpg 296w, https://www.artsyshark.com/wp-content/uploads/2021/01/Berman-Rochelle-Venice-Mirror-digital-photography-30x40-1-20x30.jpg 20w" sizes="(max-width: 329px) 100vw, 329px" /><p id="caption-attachment-53393" class="wp-caption-text">&#8220;Venice Mirror&#8221; digital photography, 30&#8243; x 40&#8243; by artist Rochelle Berman</p></div> <p>&nbsp;</p> <p><a title="Rochelle Berman" href="https://www.rochelleberman.com/" target="_blank" rel="noopener"><strong>Rochelle Berman</strong></a></p> <p>I love to create “Dreamscapes” where I start with the inherent beauty in nature, places and people and take a creative leap from there. Venice is the magical place that inspired this artwork.</p> <p>&nbsp;</p> <div id="attachment_53394" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53394" loading="lazy" class="size-full wp-image-53394" src="https://www.artsyshark.com/wp-content/uploads/2021/01/McGaw-Robert-Woodland-Daybreak-oil-on-panel-14x11-1.jpg" alt="oil painting of a woodland scene by Robert McGaw" width="500" height="383" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/McGaw-Robert-Woodland-Daybreak-oil-on-panel-14x11-1.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/McGaw-Robert-Woodland-Daybreak-oil-on-panel-14x11-1-450x345.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/McGaw-Robert-Woodland-Daybreak-oil-on-panel-14x11-1-39x30.jpg 39w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53394" class="wp-caption-text">&#8220;Woodland Daybreak&#8221; oil on panel, 14&#8243; x 11&#8243; by Robert MaGaw</p></div> <p>&nbsp;</p> <p><a title="Robert McGaw" href="http://robertmagaw.com" target="_blank" rel="noopener"><strong>Robert MaGaw</strong></a></p> <p>Bringing landscapes into one&#8217;s home is calming for many busy people who may feel disengaged from nature. I hope to provide paintings that beckon you to connect with the beauty of our surroundings.</p> <p>&nbsp;</p> <div id="attachment_53395" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53395" loading="lazy" class="size-full wp-image-53395" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Kravchenko-luliia-Still-Life-with-Maple-Leaves-oil-on-canvas-90-by-70-cm.jpg" alt="stilll life oil painting by Iullia Dravchenko" width="500" height="382" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Kravchenko-luliia-Still-Life-with-Maple-Leaves-oil-on-canvas-90-by-70-cm.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/Kravchenko-luliia-Still-Life-with-Maple-Leaves-oil-on-canvas-90-by-70-cm-450x344.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/Kravchenko-luliia-Still-Life-with-Maple-Leaves-oil-on-canvas-90-by-70-cm-39x30.jpg 39w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53395" class="wp-caption-text">&#8220;Still Life with Maple Leaves&#8221; oil on canvas, 90cm x 70cm by artist Iullia Kravchenko</p></div> <p>&nbsp;</p> <p><a title="Iullia Kravchenko" href="https://artsale.pro/en/" target="_blank" rel="noopener"><strong>Iullia Kravchenko</strong></a></p> <p>I am an artist and photographer from Russia. My paintings celebrate sentimental value and the evanescing beauty of ordinary things. Working at my easel, following traditions of the old masters, I feel inner peace and serenity.</p> <p>&nbsp;</p> <div id="attachment_53396" style="width: 342px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53396" loading="lazy" class="size-full wp-image-53396" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Poulton-Chris-Every-Home-Should-Have-One-wood-lino-metal-and-gesso-H-49.5-W-34-D-29.jpeg" alt="end table sculpture by Chris Poulton" width="332" height="500" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Poulton-Chris-Every-Home-Should-Have-One-wood-lino-metal-and-gesso-H-49.5-W-34-D-29.jpeg 332w, https://www.artsyshark.com/wp-content/uploads/2021/01/Poulton-Chris-Every-Home-Should-Have-One-wood-lino-metal-and-gesso-H-49.5-W-34-D-29-299x450.jpeg 299w, https://www.artsyshark.com/wp-content/uploads/2021/01/Poulton-Chris-Every-Home-Should-Have-One-wood-lino-metal-and-gesso-H-49.5-W-34-D-29-20x30.jpeg 20w" sizes="(max-width: 332px) 100vw, 332px" /><p id="caption-attachment-53396" class="wp-caption-text">&#8220;Every Home Should Have One&#8221; wood, lino, metal and gesso, 34&#8243; x 49.5&#8243; x 29&#8243; by artist Chris Poulton</p></div> <p>&nbsp;</p> <p><a title="Chris Poulton" href="http://www.chrispoulton.com/" target="_blank" rel="noopener"><strong>Chris Poulton</strong></a></p> <p>My sculptural practice is concerned primarily with the readymade. Using objects and materials of an industrial or utilitarian origin, I set out to explore and develop possible scenarios which may reveal hidden connections and meanings.</p> <p>&nbsp;</p> <div id="attachment_53397" style="width: 336px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53397" loading="lazy" class="size-full wp-image-53397" src="https://www.artsyshark.com/wp-content/uploads/2021/01/VandenBerg500.png" alt="photo of a dead flower by Carole VandenBerg" width="326" height="500" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/VandenBerg500.png 326w, https://www.artsyshark.com/wp-content/uploads/2021/01/VandenBerg500-293x450.png 293w, https://www.artsyshark.com/wp-content/uploads/2021/01/VandenBerg500-20x30.png 20w" sizes="(max-width: 326px) 100vw, 326px" /><p id="caption-attachment-53397" class="wp-caption-text">&#8220;To Everything There is a Season&#8221; digital photography, various sizes by Carole Vandenberg</p></div> <p>&nbsp;</p> <p><a title="Carole Vandenberg" href="https://goclickblog.com/" target="_blank" rel="noopener"><strong>Carole Vandenberg</strong></a></p> <p>As a photographer, my images can be completely realistic all the way to totally imaginative. As a digital artist, my work ranges from abstract to photomontages to fine art to commercial design.</p> <p>&nbsp;</p> <div id="attachment_53399" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53399" loading="lazy" class="size-full wp-image-53399" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Pinto-Leila-A-Brighter-Future-mixed-media-on-canvas-48x36-1.jpg" alt="abstract mixed media painting by Leila Pinto" width="500" height="375" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Pinto-Leila-A-Brighter-Future-mixed-media-on-canvas-48x36-1.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/Pinto-Leila-A-Brighter-Future-mixed-media-on-canvas-48x36-1-450x338.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/Pinto-Leila-A-Brighter-Future-mixed-media-on-canvas-48x36-1-40x30.jpg 40w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53399" class="wp-caption-text">&#8220;A Brighter Future&#8221; mixed media on canvas, 48&#8243; x 36&#8243; by artist Leila Pinto</p></div> <p>&nbsp;</p> <p><a title="Leila Pinto" href="https://www.leilapinto.com/" target="_blank" rel="noopener"><strong>Leila Pinto</strong></a></p> <p>“A Brighter Future” reflects my attempt to stay upbeat and positive during the pandemic. Through the colors, mood and gesture of this painting, I convey hope that this too shall pass and brighter days will return.</p> <p>&nbsp;</p> <div id="attachment_53400" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53400" loading="lazy" class="size-full wp-image-53400" src="https://www.artsyshark.com/wp-content/uploads/2021/01/McLaren-Elizabeth-Peaceful-oil-on-canvas-36x24-1.jpg" alt="oil waterscape by Elizabeth McLaren" width="500" height="330" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/McLaren-Elizabeth-Peaceful-oil-on-canvas-36x24-1.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/McLaren-Elizabeth-Peaceful-oil-on-canvas-36x24-1-450x297.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/McLaren-Elizabeth-Peaceful-oil-on-canvas-36x24-1-45x30.jpg 45w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53400" class="wp-caption-text">&#8220;Peaceful&#8221; oil on canvas, 36&#8243; x 24&#8243; by artist Elizabeth McLaren</p></div> <p>&nbsp;</p> <p><a title="Elizabeth McLaren" href="http://www.elizabethmclaren.com" target="_blank" rel="noopener"><strong>Elizabeth McLaren</strong><strong> </strong></a></p> <p>I am a contemporary impressionist painter in oils and watercolour inspired by the beauty of nature and my surroundings in beautiful British Columbia. Subject matter includes landscapes and wildlife.</p> <p>&nbsp;</p> <div id="attachment_53401" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53401" loading="lazy" class="size-full wp-image-53401" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Watson-Linda-Nebula-Rising-from-the-UNIVERSE-SERIES-watercolor-and-powdered-pigments-on-paper-10x8-1.jpeg" alt="abstract alcohol ink and watercolor by Linda Watson" width="500" height="359" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Watson-Linda-Nebula-Rising-from-the-UNIVERSE-SERIES-watercolor-and-powdered-pigments-on-paper-10x8-1.jpeg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/Watson-Linda-Nebula-Rising-from-the-UNIVERSE-SERIES-watercolor-and-powdered-pigments-on-paper-10x8-1-450x323.jpeg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/Watson-Linda-Nebula-Rising-from-the-UNIVERSE-SERIES-watercolor-and-powdered-pigments-on-paper-10x8-1-42x30.jpeg 42w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53401" class="wp-caption-text">&#8220;Nebula Rising&#8221; (from the UNIVERSE SERIES) watercolor and powdered pigments on paper, 10&#8243; x 8&#8243; by artist Linda Watson</p></div> <p>&nbsp;</p> <p><a title="Linda Watson" href="http://www.lindaswatsonartist.com" target="_blank" rel="noopener"><strong>Linda Watson</strong></a></p> <p>Hawaii has some of the world’s largest telescopes. The images they capture inspire me with their mysterious, swirling cosmic clouds and stellar lights. Hawaiians revere the universe because they depended on the stars for navigation.</p> <p>&nbsp;</p> <div id="attachment_53402" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53402" loading="lazy" class="wp-image-53402 size-full" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Cox-Tracy-Arthur-gouache-on-wood-panel-24x12-1.jpg" alt="gouache portrait of Arthur Ashe by Tracy Cox" width="500" height="267" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Cox-Tracy-Arthur-gouache-on-wood-panel-24x12-1.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/Cox-Tracy-Arthur-gouache-on-wood-panel-24x12-1-450x240.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/Cox-Tracy-Arthur-gouache-on-wood-panel-24x12-1-56x30.jpg 56w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53402" class="wp-caption-text">&#8220;Arthur&#8221; gouache on wood panel, 24&#8243; x 12&#8243; by artist Tracy Cox</p></div> <p>&nbsp;</p> <p><a title="Tracy Cox" href="http://www.tracycox.com" target="_blank" rel="noopener"><strong>Tracy Cox</strong></a></p> <p>I am most drawn to paint subjects from my memory, like this portrait of Arthur Ashe&#8217;s glasses from a time where someone who actually looked like me was on television (in the 1970s).</p> <p>&nbsp;</p> <div id="attachment_53403" style="width: 503px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53403" loading="lazy" class="size-full wp-image-53403" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Hall-Kathleen-Spring-Bouquet-oil-on-canvas-24x24-1.jpg" alt="floral painting by Kathleen Hall" width="493" height="496" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Hall-Kathleen-Spring-Bouquet-oil-on-canvas-24x24-1.jpg 493w, https://www.artsyshark.com/wp-content/uploads/2021/01/Hall-Kathleen-Spring-Bouquet-oil-on-canvas-24x24-1-447x450.jpg 447w, https://www.artsyshark.com/wp-content/uploads/2021/01/Hall-Kathleen-Spring-Bouquet-oil-on-canvas-24x24-1-150x150.jpg 150w, https://www.artsyshark.com/wp-content/uploads/2021/01/Hall-Kathleen-Spring-Bouquet-oil-on-canvas-24x24-1-30x30.jpg 30w" sizes="(max-width: 493px) 100vw, 493px" /><p id="caption-attachment-53403" class="wp-caption-text">&#8220;Spring Bouquet&#8221; oil on canvas, 24&#8243; x 24&#8243; by artist Kathleen Hall</p></div> <p>&nbsp;</p> <p><a title="Kathleen Hall" href="http://www.KathleenHallArt.com" target="_blank" rel="noopener"><strong>Kathleen Hall</strong></a></p> <p>I love color and making marks to create highly textured, dimensional paintings where viewers can trace my journey through the layers. I’m inspired by nature—in particular, the rocky coast of Maine where I live.</p> <p>&nbsp;</p> <div id="attachment_53404" style="width: 510px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53404" loading="lazy" class="size-full wp-image-53404" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Dyer-Janet-Farm-Drive-Provence-acrylic-12x12-1.jpg" alt="landscape painting of Provence, France by Janet Dyer" width="500" height="500" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Dyer-Janet-Farm-Drive-Provence-acrylic-12x12-1.jpg 500w, https://www.artsyshark.com/wp-content/uploads/2021/01/Dyer-Janet-Farm-Drive-Provence-acrylic-12x12-1-450x450.jpg 450w, https://www.artsyshark.com/wp-content/uploads/2021/01/Dyer-Janet-Farm-Drive-Provence-acrylic-12x12-1-150x150.jpg 150w, https://www.artsyshark.com/wp-content/uploads/2021/01/Dyer-Janet-Farm-Drive-Provence-acrylic-12x12-1-30x30.jpg 30w" sizes="(max-width: 500px) 100vw, 500px" /><p id="caption-attachment-53404" class="wp-caption-text">&#8220;Farm Drive&#8221; acrylic, 12&#8243; x 12&#8243; by artist Janet Dyer</p></div> <p>&nbsp;</p> <p><a title="Janet Dyer" href="http://janetdyerart.com/index.html" target="_blank" rel="noopener"><strong>Janet Dyer</strong></a></p> <p>Our world is endlessly fascinating and beautiful. I’ve been painting landscapes since I was nine and have never tired of it.</p> <p>&nbsp;</p> <div id="attachment_53405" style="width: 344px" class="wp-caption aligncenter"><img aria-describedby="caption-attachment-53405" loading="lazy" class="size-full wp-image-53405" src="https://www.artsyshark.com/wp-content/uploads/2021/01/Kirk-Patricia-Trusting-The-Journey-oil-and-cold-wax-on-panel-24x35.5.jpg" alt="oil and cold wax seascape by Patricia Kirk" width="334" height="500" srcset="https://www.artsyshark.com/wp-content/uploads/2021/01/Kirk-Patricia-Trusting-The-Journey-oil-and-cold-wax-on-panel-24x35.5.jpg 334w, https://www.artsyshark.com/wp-content/uploads/2021/01/Kirk-Patricia-Trusting-The-Journey-oil-and-cold-wax-on-panel-24x35.5-301x450.jpg 301w, https://www.artsyshark.com/wp-content/uploads/2021/01/Kirk-Patricia-Trusting-The-Jo Phantasm https://www.kaltblut-magazine.com/phantasm/ KALTBLUT Magazine urn:uuid:70a69e67-66e6-13ad-eed9-07592adf4425 Fri, 22 Jan 2021 11:00:50 +0100 <p><strong>A KALTBLUT exclusive womenswear editorial. Creative Direction and Fashion Styling by SiYu (Victoria) Zhong. Photography by Boyang Hu. </strong>&#8230;</p> The Twig Sketcher ft Ch’ng Kiah Kiean https://www.parkablogs.com/content/twig-sketcher-ft-ch%E2%80%99ng-kiah-kiean Parka Blogs - Art books, art products urn:uuid:fad4b7fb-28a4-e6e9-75d1-7f5913bd0bd3 Fri, 22 Jan 2021 10:41:47 +0100 <div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><p><a href="https://kiahkiean.com/">Ch'ng Kiah Kiean</a> is an artist from Penang, Malaysia.</p> <iframe width="500" height="281" src="https://www.youtube.com/embed/qO5ZAIzutPg" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen=""></iframe></div></div></div><section class="field field-name-taxonomy-vocabulary-1 field-type-taxonomy-term-reference field-label-above view-mode-fulltext clearfix"> <h2 class="field-label">Tags:&nbsp;</h2> <ul class="field-items"> <li class="field-item even"> <a href="/category/tags/video">video</a> </li> <li class="field-item odd"> <a href="/tags/urban-sketching">urban sketching</a> </li> </ul> </section> The BMA spent $2.57 million on art by 49 women in 2020. Guess how many are from Maryland? https://bmoreart.com/2021/01/the-bma-spent-2-57-million-on-art-by-49-women-in-2020-guess-how-many-are-from-maryland.html BmoreArt urn:uuid:4678ae65-f132-612d-11e5-f7d8c7139363 Fri, 22 Jan 2021 09:32:51 +0100 <p>The post <a rel="nofollow" href="https://bmoreart.com/2021/01/the-bma-spent-2-57-million-on-art-by-49-women-in-2020-guess-how-many-are-from-maryland.html">The BMA spent $2.57 million on art by 49 women in 2020. Guess how many are from Maryland?</a> appeared first on <a rel="nofollow" href="https://bmoreart.com">BmoreArt</a>.</p> <p>The post <a rel="nofollow" href="https://bmoreart.com/2021/01/the-bma-spent-2-57-million-on-art-by-49-women-in-2020-guess-how-many-are-from-maryland.html">The BMA spent $2.57 million on art by 49 women in 2020. Guess how many are from Maryland?</a> appeared first on <a rel="nofollow" href="https://bmoreart.com">BmoreArt</a>.</p> JW Anderson Fall/Winter 2021 https://www.kaltblut-magazine.com/jw-anderson-fall-winter-2021/ KALTBLUT Magazine urn:uuid:e09c2f33-07d1-3077-d59b-c234613d75f6 Fri, 22 Jan 2021 09:30:30 +0100 <p><strong>#Lookbook &#8211; <a href="https://www.jwanderson.com/" target="_blank" rel="noopener noreferrer">JW Anderson</a> unveiled its Fall/Winter 2021 collection during Paris Fashion Week, with a lookbook shot by </strong>&#8230;</p> Book Review: X-Men: The Art and Making of The Animated Series https://www.parkablogs.com/content/book-review-x-men-art-and-making-of-animated-series Parka Blogs - Art books, art products urn:uuid:e55f65ff-c72a-32c8-15c6-b2df0ae62f39 Fri, 22 Jan 2021 08:47:13 +0100 <div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><p><a href="https://www.parkablogs.com/content/book-review-x-men-art-and-making-of-animated-series"><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-01.jpg" alt="X-Men: The Art and Making of The Animated Series - 01" /></a></p> <!--break--><div style="float:left; margin:0 1em 1em 0;"> <a href="https://www.amazon.com/gp/product/1419744682?tag=parblo-20"><img border="0" src="https://images-na.ssl-images-amazon.com/images/I/81bd1AdDV4L.jpg" width="160" /></a><br /> <img src="https://www.assoc-amazon.com/e/ir?t=parblo-20&amp;l=as2&amp;o=1&amp;a=1419744682" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important;" /></div> <p>Reading this book is like going down the lane of nostalgia.</p> <p><i>X-Men: The Animated Series</i> was one of my favourite animation when I was a kid. I was fascinated by the characters and the story surprised me weekly. I always looked forward to <i>X-Men: TAS</i> because it was almost thrilling or exciting to watch. I did not read the comics because I didn't have the money to buy them, but at least I still got to watch the cartoons on TV. </p> <p><i>X-Men: The Art and Making of The Animated Series</i> is an excellent companion book for the popular animated series that debuted in 1992 on Fox Kids Network. This a huge 272-page hardcover covers the production process in detail and is packed with lots of artworks. </p> <p>Fans of the animated series will no doubt enjoy this book. There is a lot to read. The text covers the history of how the animated series came to be, the challenges, such as how to market market the series to TV networks, the actual production process, story writing and characters. The book covers all five seasons. This book is quite comprehensive, and even includes the music sheet for the opening title which I'm pretty sure anyone can remember, forever. What's not included is the episode guide, the synopsis for each episode in each season, which could probably be compiled into a book on its own.</p> <p>It's really fascinating to read about what goes behind the scenes, like how the first season has to be scripted and produced in just seven months, and there were people in the management who wanted to include more characters just to sell toys.</p> <p>There's plenty of art to see: character designs, animation cells, background art, storyboards, stills from the animation, line art and more. All the artworks are caption with, again, lots to read. Even the cover art for the book looks great. On the front we have the X-Men and on the back all the bad guys. </p> <p>Highly recommended to all fans of X-Men and the animated series. </p> <p>-</p> <p>This book was borrowed from <i>Basheer Graphic Books</i> for review purposes. You can order the book from them. Check with <a href="http://www.facebook.com/BasheerGraphic">Basheer on Facebook</a>.</p> <p><em>X-Men: The Art and Making of The Animated Series</em> is available at Amazon (<a href="https://www.amazon.com/gp/product/1419744682?tag=parblo-20">US</a> | <a href="https://www.amazon.ca/gp/product/1419744682?tag=parblo0c-20">CA</a> | <a href="https://www.amazon.co.uk/gp/product/1419744682?tag=parblo-21">UK</a> | <a href="https://www.amazon.de/gp/product/1419744682?tag=parblo01-21">DE</a> | <a href="https://www.amazon.fr/gp/product/1419744682?tag=parblo08-21">FR</a> | <a href="https://www.amazon.it/gp/product/1419744682?tag=parblo03-21">IT</a> | <a href="https://www.amazon.es/gp/product/1419744682?tag=parblo02-21">ES</a> | <a href="https://www.amazon.com.au/gp/product/1419744682?tag=parbloau-22">AU</a> | <a href="https://www.amazon.co.jp/gp/product/1419744682?tag=parkablogs-22">JP</a> | <a href="https://www.amazon.cn/mn/detailApp?asin=1419744682&amp;source=parblo-23">CN</a>) and <a href="https://www.bookdepository.com/book/9781419744686?a_aid=parka">Book Depository</a></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-02.jpg" alt="X-Men: The Art and Making of The Animated Series - 02" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-03.jpg" alt="X-Men: The Art and Making of The Animated Series - 03" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-04.jpg" alt="X-Men: The Art and Making of The Animated Series - 04" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-05.jpg" alt="X-Men: The Art and Making of The Animated Series - 05" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-06.jpg" alt="X-Men: The Art and Making of The Animated Series - 06" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-07.jpg" alt="X-Men: The Art and Making of The Animated Series - 07" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-08.jpg" alt="X-Men: The Art and Making of The Animated Series - 08" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-09.jpg" alt="X-Men: The Art and Making of The Animated Series - 09" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-10.jpg" alt="X-Men: The Art and Making of The Animated Series - 10" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-11.jpg" alt="X-Men: The Art and Making of The Animated Series - 11" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-12.jpg" alt="X-Men: The Art and Making of The Animated Series - 12" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-13.jpg" alt="X-Men: The Art and Making of The Animated Series - 13" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-14.jpg" alt="X-Men: The Art and Making of The Animated Series - 14" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-15.jpg" alt="X-Men: The Art and Making of The Animated Series - 15" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-16.jpg" alt="X-Men: The Art and Making of The Animated Series - 16" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-17.jpg" alt="X-Men: The Art and Making of The Animated Series - 17" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-18.jpg" alt="X-Men: The Art and Making of The Animated Series - 18" /></p> <p><img src="https://www.parkablogs.com/sites/default/files/x-men-animated-series-art-of-19.jpg" alt="X-Men: The Art and Making of The Animated Series - 19" /></p> <iframe width="500" height="281" src="https://www.youtube.com/embed/ksS0tHIzsOk" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen=""></iframe><p> Visit Amazon to check out more reviews. </p> <p>The links below are affiliate links, which means I earn some commission from each purchase, but at no extra cost to you.</p> <p><b>Here are direct links to the book:</b><br /> <a href="https://www.amazon.com/gp/product/1419744682?tag=parblo-20">Amazon.com</a> | <a href="https://www.amazon.ca/gp/product/1419744682?tag=parblo0c-20">Amazon.ca</a> | <a href="https://www.amazon.co.uk/gp/product/1419744682?tag=parblo-21">Amazon.co.uk</a> | <a href="https://www.amazon.de/gp/product/1419744682?tag=parblo01-21">Amazon.de</a> | <a href="https://www.amazon.fr/gp/product/1419744682?tag=parblo08-21">Amazon.fr</a> | <a href="https://www.amazon.it/gp/product/1419744682?tag=parblo03-21">Amazon.it</a> | <a href="https://www.amazon.es/gp/product/1419744682?tag=parblo02-21">Amazon.es</a> | <a href="https://www.amazon.com.au/gp/product/1419744682?tag=parbloau-22">Amazon.com.au</a> | <a href="https://www.amazon.co.jp/gp/product/1419744682?tag=parkablogs-22">Amazon.co.jp</a> | <a href="https://www.amazon.cn/mn/detailApp?asin=1419744682&amp;source=parblo-23">Amazon.cn</a> | <a href="https://www.bookdepository.com/book/9781419744686?a_aid=parka">Bookdepository.com</a></p> <p>This book was borrowed from <i>Basheer Graphic Books</i> for review purposes. You can order the book from them. Check with <a href="http://www.facebook.com/BasheerGraphic">Basheer on Facebook</a>.</p> </div></div></div><section class="field field-name-taxonomy-vocabulary-1 field-type-taxonomy-term-reference field-label-above view-mode-fulltext clearfix"> <h2 class="field-label">Tags:&nbsp;</h2> <ul class="field-items"> <li class="field-item even"> <a href="/category/tags/x-men">x-men</a> </li> <li class="field-item odd"> <a href="/category/tags/art-book-reviews">art book reviews</a> </li> <li class="field-item even"> <a href="/category/tags/animation">animation</a> </li> <li class="field-item odd"> <a href="/category/tags/harry-n-abrams">harry n abrams</a> </li> <li class="field-item even"> <a href="/category/tags/basheer-sponsored">basheer sponsored</a> </li> <li class="field-item odd"> <a href="/tags/eric-lewalf">eric lewalf</a> </li> <li class="field-item even"> <a href="/tags/julia-lewald">julia lewald</a> </li> </ul> </section> ‘Question Time’ at Lost Art Press https://blog.lostartpress.com/2021/01/21/question-time-at-lost-art-press/ Lost Art Press urn:uuid:f077c518-833e-0f7f-a59d-d2e84c93172e Fri, 22 Jan 2021 01:08:08 +0100 For the first time ever, we have the ability to live stream stuff from our shop in Covington, Ky. It’s still pretty low-tech (it will be through a laptop camera) but it’s a start. To break in the new technology, we will hold a live “Question Time” session at 11 a.m. (Eastern) on Jan. 30.... <figure class="wp-block-image size-large"><img data-attachment-id="35590" data-permalink="https://blog.lostartpress.com/2019/09/13/sometimes-you-have-to-say-it/willard_snow_img_0575-2/" data-orig-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2019/09/willard_snow_img_0575.jpg?fit=1000%2C1333&amp;ssl=1" data-orig-size="1000,1333" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="willard_snow_IMG_0575" data-image-description="" data-medium-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2019/09/willard_snow_img_0575.jpg?fit=225%2C300&amp;ssl=1" data-large-file="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2019/09/willard_snow_img_0575.jpg?fit=600%2C800&amp;ssl=1" loading="lazy" width="640" height="853" src="https://i0.wp.com/blog.lostartpress.com/wp-content/uploads/2019/09/willard_snow_img_0575.jpg?resize=640%2C853&#038;ssl=1" alt="" class="wp-image-35590" data-recalc-dims="1"/></figure> <p>For the first time ever, we have the ability to live stream stuff from our shop in Covington, Ky. It’s still pretty low-tech (it will be through a laptop camera) but it’s a start.</p> <p>To break in the new technology, we will hold a live “Question Time” session at 11 a.m. (Eastern) on Jan. 30. Megan Fitzpatrick and I will answer as many questions as possible about woodworking, publishing and possum menstrual cycles as we can handle in one hour.</p> <p>You will be able to tune in live, or watch the recording later. Here’s how to participate:</p> <ol><li>Send your questions *beforehand* to Megan at <a href="mailto:fitz@lostartpress.com">fitz@lostartpress.com</a>. The earlier the better. Please make the subject line of your email “livestream question” to ensure it’s not a question about where your darn book is. Like I said, we are happy to answer any sort of question about woodworking, woodland animals or our books. Please send your question as early as possible so we have time to make up a response that involves an Estonian limerick.</li><li>Tune in at 11 a.m. Saturday (Eastern). Use <a href="https://vimeo.com/503263742">this link</a> to watch it live. We’ll also put up an embedded window on the blog Saturday morning to make it easy for you. If you cannot watch live, we will post the recording sometime Saturday afternoon on the blog.</li></ol> <p>Please remember: We are not professional actors. The talk will likely be PG13 (partial nudity, strong language, adult situations). So take that into account if you are working at a day care facility.</p> <p>Most of all, please send questions beforehand so we don’t have to make some up.</p> <p><em>— Christopher Schwarz</em></p> Life after London: an interview with artist Jo Oakley https://blog.artweb.com/interviews/artist-jo-oakley-she-rose-gallery/ ArtWeb Blog urn:uuid:3288f836-8de8-87b0-9112-6211bf3a2a81 Fri, 22 Jan 2021 00:13:03 +0100 <p class="intro">Jo has been practicing as an artist for over 35 years. In 2015, she left the capital for Herne Bay, where in October 2020 she opened her own gallery, She Rose.</p><p class="read-more"><a class="btn btn-primary" href="https://blog.artweb.com/interviews/artist-jo-oakley-she-rose-gallery/">Continue reading</a></p> <p>London has long been a draw for artists, but following a year that has halted so many events, exhibitions, and our very ability to be together in the same space, the allure of the city may be losing its shine for many. This week, we speak to artist <a href="https://www.jooakley.co.uk/" target="_blank" rel="noopener">Jo Oakley</a>, who has made the move from London to the Kent coast, to learn more about the impact that leaving the city has had on her life and work.</p> <p>Born in South East London, Jo has been practicing as an artist for over 35 years. In 2015, she left the capital for Herne Bay, where in October 2020 she opened her own gallery, <a href="https://www.jooakley.co.uk/she-rose" target="_blank" rel="noopener">She Rose</a>.</p> <div id="attachment_15971" style="width: 570px" class="wp-caption aligncenter"><img class="aligncenter size-large wp-image-15971" src="https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-600x600.jpg" alt="Artist Jo Oakley" width="560" height="560" srcset="https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-600x600.jpg 600w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-150x150.jpg 150w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-300x300.jpg 300w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-768x768.jpg 768w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-560x560.jpg 560w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-260x260.jpg 260w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-160x160.jpg 160w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-120x120.jpg 120w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-825x825.jpg 825w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley-330x330.jpg 330w, https://cdn.artweb.com/wp-content/uploads/2021/01/Jo-Oakley.-Image-courtesy-of-Jo-Oakley.jpg 1442w" sizes="(max-width: 560px) 100vw, 560px" /><p class="wp-caption-text"><span class="caption-holder">|credit|</span></p></div> <h3>How and why did you become an artist?</h3> <p>When I was at school, I knew that I wanted to go to art college, and I did a Foundation course before starting a degree in Fine Art at North East London Polytechnic. Although I felt that I needed to express myself through my art, I found myself becoming extremely disillusioned with the politicised environment at art school. I wanted to step away from that world and do something practical, so I left to do a course in shop display carpentry. I then spent two years travelling around England with a team of workmates fitting out shops, before becoming pregnant and getting married.</p> <p>For the next ten years I continued to pursue my artistic interests while raising a family. My mother is also an artist, and I began to help her in her print studio with large editions, learning the art of printmaking as I did so. Everyone in my family was self-employed, and I very much wanted to be a working artist. When my husband and I divorced I knew that I needed to support myself financially. I gave myself a year to make a go of my artistic career — and have never looked back!</p> <h3>What inspires you in your work?</h3> <p>There are two main themes in my work: interiors and seascapes. Everything that I own represents a memory, such as sitting in my grandmothers’ kitchens as a child, which felt like a refuge to me. When I depict my belongings in my paintings, I’m trying to share that experience, and feeling of stability and security. I’m so pleased that they’ve also been meaningful to viewers, and I’ve made some really deep connections with people who have bought my work — as an artist you can’t ask for anything more, really!</p> <div id="attachment_15973" style="width: 570px" class="wp-caption aligncenter"><img class="aligncenter size-large wp-image-15973" src="https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-600x750.jpg" alt="Painting of sailboat on the water with flowers in the forefront" width="560" height="700" srcset="https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-600x750.jpg 600w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-240x300.jpg 240w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-768x960.jpg 768w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-560x700.jpg 560w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-260x325.jpg 260w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-160x200.jpg 160w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-96x120.jpg 96w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley_-799x999.jpg 799w" sizes="(max-width: 560px) 100vw, 560px" /><p class="wp-caption-text"><span class="caption-holder">|credit|</span></p></div> <p>I grew up by the Thames and have always been drawn to water, almost spiritually so, and for a long time I had a beach hut in Whitstable in Kent. No matter what is going on in my mind or the world, when I’m on the beach I feel like that big sea can take it all, and that is also the feeling I’m trying to express in my work.</p> <h3>Why did you decide to leave London for Kent?</h3> <p>After so many years in London I was ready to escape! I also wanted to become more financially independent, and knew that if I sold my house in London and bought a home in Kent, I could become mortgage-free. Although I still need to earn a living, removing that financial pressure has allowed me to explore more in my work, and I have also felt more productive.</p> <h3>What effect did leaving London have on your career as an artist?</h3> <p>Very little! As artists we have access to so many tools and platforms now that allow us to showcase our work, and so I feel that location has almost become irrelevant. This was true even before the pandemic, but it seems to have really accelerated the trend.</p> <h3>You recently opened your own gallery and shop, She Rose. Had you always planned to open a gallery?</h3> <p>Not at all, it happened completely by chance: I was walking in Herne Bay one day in October 2019 when I saw someone working in the empty shop. We started chatting and I discovered that it would soon be put on the market. I asked to look around and after ten minutes I knew that I wanted to buy it. I rushed down the road to a local estate agent and told them I had to sell my house, quickly — within a week it was on the market, and I had found a buyer!</p> <div id="attachment_15970" style="width: 570px" class="wp-caption aligncenter"><img class="aligncenter size-large wp-image-15970" src="https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-600x600.jpg" alt="Jo Oakley She Rose gallery in Herne Bay" width="560" height="560" srcset="https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-600x600.jpg 600w, https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-150x150.jpg 150w, https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-300x300.jpg 300w, https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-560x560.jpg 560w, https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-260x260.jpg 260w, https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-160x160.jpg 160w, https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-120x120.jpg 120w, https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley-330x330.jpg 330w, https://cdn.artweb.com/wp-content/uploads/2021/01/She-Rose.-Image-courtesy-of-Jo-Oakley.jpg 750w" sizes="(max-width: 560px) 100vw, 560px" /><p class="wp-caption-text"><span class="caption-holder">|credit|</span></p></div> <p>The building itself dates back to the 1840s and needed a lot of work. I moved into a caravan while my builders began to renovate it in January 2020. By August last year I was able to move into one room upstairs while work continued, and we opened the gallery on 1st October 2020. We’ve had to close twice since opening due to lockdowns, but I have loved living here. I also set up my printing press in the gallery, and finally have the perfect studio in which to work.</p> <h3>What are your plans for She Rose?</h3> <p>I want it to be an inclusive space that anyone in the community can feel comfortable entering, and the response that I’ve had so far has been wonderful. Owning my own gallery gives me the opportunity to not only show my own work, but also that of talented artists and makers that I love, from local soap-makers to painters — it’s just amazing!</p> <p>I can’t wait to begin hosting workshops here, and we will be holding classes for all age ranges and abilities. I’ve also created an accommodation space in the courtyard, and I am looking forward to welcoming guests to it when we are able to travel safely again.</p> <div id="attachment_15972" style="width: 570px" class="wp-caption aligncenter"><img class="aligncenter size-large wp-image-15972" src="https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-600x600.jpg" alt="" width="560" height="560" srcset="https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-600x600.jpg 600w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-150x150.jpg 150w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-300x300.jpg 300w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-768x768.jpg 768w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-560x560.jpg 560w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-260x260.jpg 260w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-160x160.jpg 160w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-120x120.jpg 120w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-825x825.jpg 825w, https://cdn.artweb.com/wp-content/uploads/2021/01/Image-courtesy-of-Jo-Oakley-330x330.jpg 330w" sizes="(max-width: 560px) 100vw, 560px" /><p class="wp-caption-text"><span class="caption-holder">|credit|</span></p></div> <h3>What advice would you give to artists thinking of leaving London?</h3> <p>Do it! Take the leap! I would never be able to grow in London as I have since leaving it. Moving away can free up so much headspace by taking away the financial pressure of paying high rents, and might also give you access to more physical space, too, which can be hugely beneficial for your work.</p> <p>Before moving I was worried that it might be more difficult to become part of an artistic community in a small town, but it really hasn’t happened. If anything, I found it easier, and very comfortable to <a href="https://blog.artweb.com/how-to/build-an-artist-community/" target="_blank" rel="noopener">meet like-minded people</a> here.</p> <p>You can read more about Jo Oakley and her work <a href="https://www.jooakley.co.uk/about-jo-oakley" target="_blank" rel="noopener">here</a>, and follow the latest news from She Rose on Instagram <a href="https://www.instagram.com/sherose165/" target="_blank" rel="noopener">here</a>.</p> <ul> <li><strong>Related reading</strong>: <a href="https://blog.artweb.com/how-to/london-for-artists/" target="_blank" rel="noopener">How major cities shape up for artists: London</a></li> </ul> <p>&nbsp;</p> Mizna Wada’s “Kowaii Club” at Nucleus Portland.A selection of... https://supersonicart.com/post/640961609668395008 SUPERSONIC ART urn:uuid:d3b51306-2da6-a44e-3fd7-1efdc3ad14e6 Thu, 21 Jan 2021 23:37:04 +0100 <img src="https://64.media.tumblr.com/0e2fecb514d439ce59ab90ea425fa972/3bbba0471d1cef13-e5/s500x750/61b10e2121ad48ce09b29c9d14117d05158ac41a.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/af26f9f0faee1f96c7b71fdaba072c0c/3bbba0471d1cef13-7d/s500x750/9404ccfef461164cf642d16004b15d45dbc7c462.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/56a6c88f5c066606693b7ec6a4aad65e/3bbba0471d1cef13-67/s500x750/4650f043b8c32263f9803a95416812fddba367b0.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/a6598f4889611c1cfa623b1faa887727/3bbba0471d1cef13-f7/s500x750/f25709406cf7f984da7da4db1c0c83611982b2c0.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/cedee5666e49923d13b575668e95a709/3bbba0471d1cef13-05/s500x750/dd3399adc2cd5d1f72feb5df724860524e1b398b.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/d602ac3cf469e3a96d77d345f1044492/3bbba0471d1cef13-8a/s500x750/94d34d370f62685ecb0a0710238764fe56d8eac9.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/5bd1cd06cd93a92b00dce4e43e3d07c0/3bbba0471d1cef13-7f/s500x750/63fbceec5ab6c1c7fd4307514db02a01e9a7973e.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/579fa08b356b1b6d0da518fb701bc96e/3bbba0471d1cef13-6a/s500x750/cea5e96085ba98a4513039cb7775972f1c0af84a.jpg"/><br/> <br/><img src="https://64.media.tumblr.com/bb3643e6109dbf65b679aad42fe505d6/3bbba0471d1cef13-c2/s500x750/812561765e6620483a9fee5cc21cc49bb5b4ae60.jpg"/><br/> <br/><h2><a href="https://supersonicart.com/post/640961609668395008/mizna-wadas-kowaii-club-at-nucleus-portland-a" target="_blank">Mizna Wada’s “Kowaii Club” at Nucleus Portland.</a></h2><p>A selection of pieces from artist <a href="https://www.instagram.com/miznawada/?hl=en" target="_blank">Mizna Wada’s</a> “Kowaii Club” currently on view at <a href="https://nucleusportland.com/collections/kowaii21" target="_blank">Nucleus Portland</a> in Portland, Oregon.  </p><p>Mizna Wada is a Japanese illustrator inspired by horror comics and horror movies from her childhood and creates spooky but cute girls by using various artistic techniques.<br/></p><p>-</p><p><i><a href="http://bit.ly/1SaVF95" target="_blank">Be sure to follow Supersonic Art on Instagram!</a></i></p> Sweden-Born, NYC-Based SCRATCH Takes Her Stylish Skills to the Street, to Canvas and to Spray Cans https://streetartnyc.org/blog/2021/01/21/sweden-born-nyc-based-scratch-takes-her-stylish-skills-to-the-street-to-canvas-and-to-spray-cans/ Street Art NYC urn:uuid:e0dffaf3-85d3-4acc-c3d9-ba02c5e8a0b5 Thu, 21 Jan 2021 21:33:09 +0100 NYC-based, Stockholm-born graffiti artist and graphic designer SCRATCH has been busily making her mark on the street, on canvas and on spray cans. The image featured above was painted this past summer in uptown Manhattan. More of SCRATCH&#8216;s works on various media follow: Also painted on the streets, this one in Brooklyn  &#8220;A Galaxy Far [&#8230;] <p></p><p><img class="aligncenter size-full wp-image-44239" src="https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti-.jpeg" alt="" width="720" height="670" srcset="https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti-.jpeg 720w, https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti--300x279.jpeg 300w, https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti--640x596.jpeg 640w" sizes="(max-width: 720px) 100vw, 720px" /></p> <p>NYC-based, Stockholm-born graffiti artist and graphic designer <a href="https://www.instagram.com/scratch_nyc/">SCRATCH</a> has been busily making her mark on the street, on canvas and on spray cans. The image featured above was painted this past summer in uptown Manhattan. More of <a href="https://www.instagram.com/scratch_nyc/">SCRATCH</a>&#8216;s works on various media follow:</p> <p><em>Also painted on the streets, this one in Brooklyn</em></p> <p><img class="aligncenter size-full wp-image-44238" src="https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graff-nyc.jpg" alt="" width="713" height="540" srcset="https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graff-nyc.jpg 713w, https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graff-nyc-300x227.jpg 300w, https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graff-nyc-640x485.jpg 640w" sizes="(max-width: 713px) 100vw, 713px" /></p> <p><em> &#8220;A Galaxy Far Far Away,&#8221; on canvas</em></p> <p><img class="aligncenter size-full wp-image-44233" src="https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-SKRT-In-A-Galaxy-Far-Far-Away-canvas-graffiti.jpg" alt="" width="720" height="720" srcset="https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-SKRT-In-A-Galaxy-Far-Far-Away-canvas-graffiti.jpg 720w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-SKRT-In-A-Galaxy-Far-Far-Away-canvas-graffiti-300x300.jpg 300w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-SKRT-In-A-Galaxy-Far-Far-Away-canvas-graffiti-150x150.jpg 150w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-SKRT-In-A-Galaxy-Far-Far-Away-canvas-graffiti-640x640.jpg 640w" sizes="(max-width: 720px) 100vw, 720px" /></p> <p><em> &#8220;Blue Sky&#8221; on canvas</em></p> <p><img class="aligncenter size-full wp-image-44234" src="https://streetartnyc.org/wp-content/uploads/2021/01/Scratc-SKRT-Blue-Sky-canvas-graffiti.jpg" alt="" width="720" height="720" srcset="https://streetartnyc.org/wp-content/uploads/2021/01/Scratc-SKRT-Blue-Sky-canvas-graffiti.jpg 720w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratc-SKRT-Blue-Sky-canvas-graffiti-300x300.jpg 300w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratc-SKRT-Blue-Sky-canvas-graffiti-150x150.jpg 150w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratc-SKRT-Blue-Sky-canvas-graffiti-640x640.jpg 640w" sizes="(max-width: 720px) 100vw, 720px" /></p> <p><em>&#8220;Viking Warrior&#8221; on canvas</em></p> <p><img class="aligncenter size-full wp-image-44232" src="https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-Viking-Warrior-canvas.jpg" alt="" width="720" height="720" srcset="https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-Viking-Warrior-canvas.jpg 720w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-Viking-Warrior-canvas-300x300.jpg 300w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-Viking-Warrior-canvas-150x150.jpg 150w, https://streetartnyc.org/wp-content/uploads/2021/01/Scratch-Viking-Warrior-canvas-640x640.jpg 640w" sizes="(max-width: 720px) 100vw, 720px" /></p> <p><em>On repurposed spray can</em></p> <p><img class="aligncenter size-full wp-image-44236" src="https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti-can-5.jpg" alt="" width="720" height="720" srcset="https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti-can-5.jpg 720w, https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti-can-5-300x300.jpg 300w, https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti-can-5-150x150.jpg 150w, https://streetartnyc.org/wp-content/uploads/2021/01/scratch-graffiti-can-5-640x640.jpg 640w" sizes="(max-width: 720px) 100vw, 720px" /></p> <p>Check out the shop at <a href="https://www.wallworksny.com/shop">Wall Works New York</a> to view more of <a href="https://www.instagram.com/scratch_nyc/">SCRATCH&#8217;</a>s works on canvas and on spray cans that are for sale.</p> <p><em>All photos courtesy the artist</em></p> Find the Best Canvas Pad For Taking Your Painting on the Road https://www.artnews.com/art-news/product-recommendations/the-best-canvas-pad-1202685316/ ARTnews.com urn:uuid:f7c087ef-830c-09b0-950a-4e2c85ab410a Thu, 21 Jan 2021 21:22:38 +0100 UPDATED (ORIGINALLY PUBLISHED MAY 1, 2020 11:03 AM)  If you purchase an independently reviewed product or service through a link on our website, we may receive an affiliate commission.  Conventional canvases are generally made from natural fibers woven together, such as linen or cotton, and then stretched over a frame or glued to the panel. [&#8230;] <h6><b>UPDATED (ORIGINALLY PUBLISHED MAY 1, 2020 11:03 AM) </b></h6> <p><i>If you purchase an independently reviewed product or service through a link on our website, we may receive an affiliate commission. </i></p> <p>Conventional canvases are generally made from natural fibers woven together, such as linen or cotton, and then stretched over a frame or glued to the panel. A good, portable alternative are canvas pads, which contain either cotton canvas that’s been primed and cut into sheets or primed paper with a texture resembling fabric. Rougher sheets are best suited for artists who prefer wide, bold brushstrokes, while smoother sheets best support fine detailing; depending on how their surfaces are prepared, they can handle mediums as diverse as pastels, oil paints, acrylics, and watercolor. But no matter how great your paint, charcoal, or pens may be, if your canvas pad is not of first quality, the finished artwork will never reach its full potential. A worthy canvas pad absorbs without bleeding, spreads without excess smudging, and boasts a fine texture. ARTnews has compiled below a selection of canvas pads to help you find the most appropriate option.</p> Holy Bidding, Batman! Bruce Wayne and Tintin Break Comic Art Auction Records https://hyperallergic.com/616183/holy-bidding-batman-bruce-wayne-and-tintin-break-comic-art-auction-records/ Hyperallergic urn:uuid:fe9f4bf4-e939-ab08-4578-99cb1bd93aa0 Thu, 21 Jan 2021 21:14:39 +0100 <figure><img width="720" height="1143" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?fit=720%2C1143&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?w=1613&amp;quality=100&amp;ssl=1 1613w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=720%2C1143&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=1200%2C1905&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=768%2C1219&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=968%2C1536&amp;quality=100&amp;ssl=1 968w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=1290%2C2048&amp;quality=100&amp;ssl=1 1290w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=1568%2C2489&amp;quality=100&amp;ssl=1 1568w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=706%2C1121&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616186" data-permalink="https://hyperallergic.com/616183/holy-bidding-batman-bruce-wayne-and-tintin-break-comic-art-auction-records/batman_1_dc_1940_cgc_nm_9-4_white_pages_heritage_auctions_1/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?fit=1613%2C2560&amp;quality=100&amp;ssl=1" data-orig-size="1613,2560" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;HA.com&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1606299895&quot;,&quot;copyright&quot;:&quot;2020 Heritage Auctions&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?fit=720%2C1143&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?fit=780%2C1238&amp;quality=100&amp;ssl=1" /></figure>A pristine copy of "Batman No. 1" from 1940 is now the most expensive Batman title ever sold, and a rejected 1936 Tintin cover illustration became the most expensive work of comic book art. <figure><img width="720" height="1143" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?fit=720%2C1143&amp;quality=100&amp;ssl=1" class="attachment-medium size-medium wp-post-image" alt="" loading="lazy" srcset="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?w=1613&amp;quality=100&amp;ssl=1 1613w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=720%2C1143&amp;quality=100&amp;ssl=1 720w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=1200%2C1905&amp;quality=100&amp;ssl=1 1200w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=768%2C1219&amp;quality=100&amp;ssl=1 768w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=968%2C1536&amp;quality=100&amp;ssl=1 968w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=1290%2C2048&amp;quality=100&amp;ssl=1 1290w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=1568%2C2489&amp;quality=100&amp;ssl=1 1568w, https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?resize=706%2C1121&amp;quality=100&amp;ssl=1 706w" sizes="(max-width: 34.9rem) calc(100vw - 2rem), (max-width: 53rem) calc(8 * (100vw / 12)), (min-width: 53rem) calc(6 * (100vw / 12)), 100vw" data-attachment-id="616186" data-permalink="https://hyperallergic.com/616183/holy-bidding-batman-bruce-wayne-and-tintin-break-comic-art-auction-records/batman_1_dc_1940_cgc_nm_9-4_white_pages_heritage_auctions_1/" data-orig-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?fit=1613%2C2560&amp;quality=100&amp;ssl=1" data-orig-size="1613,2560" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;HA.com&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1606299895&quot;,&quot;copyright&quot;:&quot;2020 Heritage Auctions&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1" data-image-description="" data-medium-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?fit=720%2C1143&amp;quality=100&amp;ssl=1" data-large-file="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/Batman_1_DC_1940_CGC_NM_9.4_White_pages_Heritage_Auctions_1-scaled.jpg?fit=780%2C1238&amp;quality=100&amp;ssl=1" /></figure> <p>Two record-setting sales on January 14 are the latest indication of the strength of the international market for comic books and comic art. At Artcurial in Paris, <a target="_blank" href="https://www.artcurial.com/sites/default/files/2021-01/r-4085_BD-lotus-bleu-en.pdf" rel="noreferrer noopener">a rejected 1936 Tintin cover illustration</a> by Belgian cartoonist Hergé sold for €3.2 million (~$3.8 million), setting a world auction record for the most expensive work of comic book art. Meanwhile, at Heritage Auctions in Dallas, Texas, <a target="_blank" href="https://www.ha.com/heritage-auctions-press-releases-and-news/-batman-no.-1-sells-for-2.22-million-at-heritage-auctions-to-shatter-caped-crusader-s-world-record.s?releaseId=4074" rel="noreferrer noopener">a copy of <em>Batman No. 1</em> (1940)</a> in excellent condition sold for $2.2 million, becoming the second most expensive comic book, and the most expensive Batman title, ever sold at auction.</p> <p>Sold in the first session of Heritage Auctions&#8217; Comics and Comic Art event, a four-day affair,&nbsp;<em>Batman No. 1</em>&nbsp;easily broke the previous world auction record for a Batman comic, held by an issue of&nbsp;<em>Detective Comics No. 27</em>&nbsp;(1939) that Heritage Auctions sold for $1.5 million this past November.&nbsp;<em>Batman No. 1</em>&nbsp;is written by Bill Finger with illustrations by Bob Kane, including a punchy cover image that features Batman and Robin swinging in tandem through Gotham City&#8217;s skies. Its pages tell the legend behind Batman&#8217;s origin story and mark the initial appearances of the Joker and Catwoman (then called &#8220;the Cat&#8221;) before they would go on to be major characters in their own right and the subject of feature films.</p> <p>Some of the chatter around the issue came from its pristine condition: it arrived at the auction block in a league of its own with a 9.4 grade by the Certified Guaranty Company, a third-party grading service that assesses comic book condition. The copy came with a sterling provenance, too. It belonged to Billy T. Giles, a comic book collector — and later, comic bookseller — who purchased it from Camelot, a famous Houston comic book shop, for $3,000 in cash. When Giles died in 2019, his son William, the consignor, inherited his comics collection.</p> <p>&#8220;It was time for somebody else to have it,&#8221; he said in a statement. &#8220;Dad would have been glad his story is being told — ecstatic, really. What he did to get that book and how he took care of it. He always knew it was the finest and would have been so happy it has been recognized as the very best.&#8221;</p> <p>Heritage Auctions Senior Vice President Ed Jaster expressed that the copy&#8217;s significance was clear from the get-go. &#8220;We knew when the book came in that it was beyond special, that it was a once-in-a-lifetime offering — from appearance, its blindingly bright cover to its white pages, to provenance,&#8221; he remarked in a statement. &#8220;We are not at all surprised that this has become a record-setting issue.&#8221;</p> <figure class="wp-block-image size-large"><img data-attachment-id="616187" data-permalink="https://hyperallergic.com/616183/holy-bidding-batman-bruce-wayne-and-tintin-break-comic-art-auction-records/herge-le-lotus-bleu-1936-herge-moulinsart-2020/" data-orig-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?fit=2510%2C2560&amp;quality=100&amp;ssl=1" data-orig-size="2510,2560" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;11&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;NIKON D3X&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1580745747&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;60&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.008&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020" data-image-description="" data-medium-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?fit=720%2C734&amp;quality=100&amp;ssl=1" data-large-file="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?fit=780%2C796&amp;quality=100&amp;ssl=1" loading="lazy" width="780" height="796" src="https://i1.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020.jpg?resize=780%2C796&#038;quality=100&#038;ssl=1" alt="" class="wp-image-616187" srcset="https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?resize=1200%2C1224&amp;quality=100&amp;ssl=1 1200w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?resize=720%2C734&amp;quality=100&amp;ssl=1 720w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?resize=768%2C783&amp;quality=100&amp;ssl=1 768w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?resize=1506%2C1536&amp;quality=100&amp;ssl=1 1506w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?resize=2008%2C2048&amp;quality=100&amp;ssl=1 2008w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?resize=1568%2C1599&amp;quality=100&amp;ssl=1 1568w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?resize=706%2C720&amp;quality=100&amp;ssl=1 706w, https://i2.wp.com/hyperallergic.com/wp-content/uploads/2021/01/HERGE-Le-Lotus-bleu-1936-©-Herge-Moulinsart-2020-scaled.jpg?w=2340&amp;quality=100&amp;ssl=1 2340w" sizes="(max-width: 780px) 100vw, 780px" data-recalc-dims="1" /><figcaption>Hergé, &#8220;Le Lotus Bleu&#8221; (1936) (courtesy of Artcurial; © Hergé Moulinsart 2020)</figcaption></figure> <p>At Artcurial, a rare piece of Tintin cover art, the star lot in a sale of work by the Belgian illustrator&nbsp;<a target="_blank" href="https://en.wikipedia.org/wiki/Herg%C3%A9" rel="noreferrer noopener">Hergé (Georges Remi)</a>, swiftly surpassed its presale high estimate of €2.8 million (~$3.4 million) when a private collector purchased it for €3.18 million (~$3.8 million). Made with gouache, watercolor, and India ink, the image depicts the child hero Tintin and his dog Milou (&#8220;Snowy&#8221;) peeking out from a porcelain jar as they hide from a large dragon. Hergé, the inventor of Tintin, made the work to serve as the cover of&nbsp;<em>Le</em>&nbsp;<em>lotus bleu (The Blue Lotus)</em>&nbsp;(1936), the fifth comic book in the series, in which the pair heads to China.</p> <p><a target="_blank" href="https://www.artcurial.com/en/news/new-world-record-comic-strip-artwork" rel="noreferrer noopener">In a video on the auction house&#8217;s website</a>, Artcurial&#8217;s comic book specialist Eric Leroy explains that the work was ultimately refused as a cover image by the publisher Louis Casterman because it would have been too expensive to print in color using the four-color process. Hergé made a simpler version of the piece for the cover instead and gave the original version to Casterman&#8217;s seven-year-old son, Jean-Paul Casterman, one of the work&#8217;s consignors. It&#8217;s not the first time that Artcurial has set a record for Hergé&#8217;s work: the auction house holds eight of the top 10 auction prices for the artist, and its 2014 sale of a page of Tintin drawings for $3.6 million held the previous record for a work of comic book art.</p> <p>In a statement released after the record sale of&nbsp;<em>The Blue Lotus</em>&nbsp;cover artwork, Leroy said: &#8220;Thanks to its unique characteristics, this masterpiece of the ninth art deserves this world record and confirms the excellent health of the comic strip market.&#8221;</p> <div class="feedflare"> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=6eYAgFvA6l4:tiSuNzTv-kY:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=6eYAgFvA6l4:tiSuNzTv-kY:D7DqB2pKExk"><img src="http://feeds.feedburner.com/~ff/hyperallergic?i=6eYAgFvA6l4:tiSuNzTv-kY:D7DqB2pKExk" border="0"></img></a> <a href="http://feeds.hyperallergic.com/~ff/hyperallergic?a=6eYAgFvA6l4:tiSuNzTv-kY:qj6IDK7rITs"><img src="http://feeds.feedburner.com/~ff/hyperallergic?d=qj6IDK7rITs" border="0"></img></a> </div><img src="http://feeds.feedburner.com/~r/hyperallergic/~4/6eYAgFvA6l4" height="1" width="1" alt=""/>