Tag Archives: Art

Previews: The New Yorker Magazine – March 25, 2024

A woman wears a dress with a pattern that resembles a crossword puzzle. A man writes a letter on her back.

The New Yorker (March 18, 2024): The new issue‘s cover features Klaas Verplancke’s “On the Grid” – The artist blends the preferred pastimes and stylish attire of New York’s commuters. By Françoise Mouly with Art by Klaas Verplancke.

The Place to Buy Kurt Cobain’s Sweater and Truman Capote’s Ashes

A mannequin wears a dress next to displays of other items.

As the art market cools, Julien’s Auctions earns millions selling celebrity ephemera—and used its connections to help Kim Kardashian borrow Marilyn Monroe’s J.F.K.-birthday dress.

By Rachel Monroe

The sidewalks of Lower Broadway in downtown Nashville are filled with people moving among neon-lit venues owned by celebrity musicians: Kid Rock’s Big Ass Honky Tonk & Rock ‘n’ Roll Steakhouse, Jason Aldean’s Kitchen & Rooftop Bar, Miranda Lambert’s Casa Rosa. The Hard Rock Café, which opened in 1994, when the neighborhood could still reasonably be called eclectic, sits at the far edge of the strip, overlooking the Cumberland River. One evening last November, Julien’s Auctions took over a private room at the restaurant for a three-day sale in honor of the company’s twentieth anniversary. There was a spotlighted stage full of objects that musicians had worn or touched or played: a scratched amber ring that Janis Joplin wore onstage at the Monterey Pop Festival, in 1967; Prince’s gold snakeskin-print suit, small enough to fit on an adolescent-size mannequin; ripped jeans that had belonged to Kurt Cobain.

Mike Johnson, the First Proudly Trumpian Speaker

A black and white photo of men in suits walking inside a building.

Though he has adopted a “nerd constitutional-law guy” persona, he is in lockstep with the law-flouting former President.

By David D. Kirkpatrick

The Capitol Hill Club, in a white brick town house a few blocks from the House of Representatives, is a social institution exclusively for Republicans. One evening in October, Representative Mike Garcia was eating there alone when Representative Mike Johnson stopped to chat. Garcia is a first-generation immigrant and a retired Navy pilot from a Democratic-leaning district in Southern California. His predecessor, a Democrat, resigned after a scandal four years ago, and Garcia highlighted disagreements with his party to win reëlection in 2022. He was also a loyalist to former House Speaker Kevin McCarthy, a fellow-Californian who had just been ousted by a small band of hard-line conservative rebels annoyed at his willingness to compromise on budget disputes. Garcia had formally nominated McCarthy as Speaker at the beginning of 2023, and his removal deprived Garcia of a patron.

Previews: The New Yorker Magazine – March 18, 2024

A skier skis from snow onto grass.

The New Yorker (March 11, 2024): The new issue‘s cover features Peter de Sève’s “Downhill” – The artist depicts carving up the slopes, straight into spring.

Among the A.I. Doomsayers

A large robotic foot hovers above a figure.

Some people think machine intelligence will transform humanity for the better. Others fear it may destroy us. Who will decide our fate?

By Andrew Marant

Katja Grace’s apartment, in West Berkeley, is in an old machinist’s factory, with pitched roofs and windows at odd angles. It has terra-cotta floors and no central heating, which can create the impression that you’ve stepped out of the California sunshine and into a duskier place, somewhere long ago or far away. Yet there are also some quietly futuristic touches. High-capacity air purifiers thrumming in the corners. Nonperishables stacked in the pantry. A sleek white machine that does lab-quality RNA tests. The sorts of objects that could portend a future of tech-enabled ease, or one of constant vigilance.

Have the Liberal Arts Gone Conservative?

A column with a pencil tip.

The classical-education movement seeks to fundamentally reorient schooling in America. Its emphasis on morality and civics has also primed it for partisan takeover.

Reviews: ‘The Week In Art’

The Week In Art Podcast (March 8, 2024): To coincide with International Women’s Day on 8 March, the South London Gallery is opening the exhibition Acts of Resistance: Photography, Feminisms and the Art of Protest.

Activism and photography have long gone hand in hand but this collaborative exhibition, organised with the Victoria and Albert Museum (V&A), attempts to capture a new chapter in this distinguished history, with a particular focus on feminism across the world. We talk to Sarah Allen, the head of programme at the South London Gallery, and Fiona Rogers, the V&A’s Parasol Foundation curator of women in photography, about the show. The financier, philanthropist, collector and leader of cultural organisations Jacob Rothschild died last week at the age of 87.

We talk to Anna Somers Cocks, the founder of The Art Newspaper, who interviewed Lord Rothschild on numerous occasions, about his impact on the visual arts and heritage. And this episode’s Work of the Week is Adelphi, made in 1967 by Robert Ryman. It is one of around 50 pieces by Ryman in the exhibition The Act of Looking, which opened this week at the Musée de l’Orangerie in Paris. Guillaume Fabius, the co-curator of the show, joins us to discuss the painting.

Acts of Resistance: Photography, Feminisms and the Art of Protest, South London Gallery, London, 8 March-9 June.

Robert Ryman: The Act of Looking, Musée de l’Orangerie, Paris, until 1 July.

Art Museum Exhibitions: The Harlem Renaissance & Transatlantic Modernism

The Met (March 8, 2024): Join Dr. Denise M. Murrell, Merryl H. and James S. Tisch Curator at Large in The Met’s Director’s Office, for a virtual tour of the groundbreaking exhibition The Harlem Renaissance and Transatlantic Modernism.

Through some 160 works of painting, sculpture, photography, film, and ephemera, it will explore the comprehensive and far-reaching ways in which Black artists portrayed everyday modern life in the new Black cities that took shape in the 1920s–40s in New York City’s Harlem and nationwide in the early decades of the Great Migration when millions of African Americans began to move away from the segregated rural South.

The first art museum survey of the subject in New York City since 1987, the exhibition will establish the Harlem Renaissance and its radically new development of the modern Black subject as central to the development of international modern art.

On view February 25 – July 28, 2024.

#TheMet#Art#TheMetropolitanMuseumofArt

Previews: The New Yorker Magazine – March 11, 2024

Barbie slaps Oppenheimer at the Academy Awards.
Art by Barry Blitt

The New Yorker (March 4, 2024): The new issue‘s cover features Barry Blitt’s “Slappenheimer” – The artist revisits the infamous Oscars slap to riff on the tensions of this year’s ceremony.

Joe Biden’s Last Campaign

Joe Biden photographed at his desk in the Oval Office by Thea Traff.

Trailing Trump in polls and facing doubts about his age, the President voices defiant confidence in his prospects for reëlection.

By Evan Osnos

Forty-Three Mexican Students Went Missing. What Really Happened to Them?

A man looks at photos of the missing students.

One night in 2014, a group of young men from a rural teachers’ college vanished. Since then, their families have fought for justice.

By Alma Guillermoprieto

Art Exhibitions: American Abstract Expressionist Mark Rothko’s Paintings

CBS Sunday Morning (March 3, 2024): His abstract expressionist canvases are among the most recognizable of all 20th century artists’ works. But Mark Rothko (1903-1970) also produced nearly 3,000 pieces on paper – smaller in scale but just as innovative.

CBS News chief election & campaign correspondent Robert Costa visits an exhibition at the National Gallery of Art in Washington, D.C., that explores the trail of paper works the artist left behind, and talks with curator Adam Greenhalgh, and with the artist’s children, Kate Rothko Prizel and Christopher Rothko, about Rothko’s remarkable vision.

Art Insider: An Engineer Reviews Turner’s “Rain, Steam And Speed” (1844)

The National Gallery (March 1, 2024): Is there engineering in art, as well as art in engineering? We look at Turner’s famous depiction of a steam train in ‘Rain, Steam and Speed’ and stormy seas in ‘Dutch Boats in a Gale’ (1801).

Rob Bell from the Institution of Mechanical Engineers gives us an engineer’s take on these two paintings at the National Gallery. The Institution of Mechanical Engineers was founded in 1847 and has over 100,000 members around the world.

Arts Preview: ARTFORUM Magazine – March 2024

March 2024
Paul Pfeiffer, Vitruvian Figure (detail), 2008

Artforum Magazine (March 1, 2024) – The latest issue features THE PURE PRODUCTS OF AMERICA GO CRAZY – Thomas Hirschhorn’s Fake It, Fake It – till you Fake It., 2023; ANTHONY LEPORE; PASSAGES –  PHILL NIBLOCK (1933–2024); TOP TENBRUCE LABRUCE and more…

SALON STYLE

Hurvin Anderson, Shear Cut, 2023, acrylic on paper on canvas, 84 3⁄4 × 92 1⁄4". From the series “Barbershop,” 2006–23.

Hurvin Anderson imagines the barbershop

HURVIN ANDERSON’S “BARBERSHOP” series belongs to a long tradition of painterly fascination with the spaces of social interaction that reflect both the physical realities and ideological aspirations of society at large. Anderson’s exhibition “Salon Paintings” at England’s Hastings Contemporary, organized in collaboration with the Hepworth Wakefield, also in England, and Kistefos Museum in Jevnaker, Norway, brings together a body of work he produced between 2006 and 2023 that portrays, albeit in the loosest sense of the word, men’s hair salons. 

“Time Travel: Italian Masters Through a Contemporary Lens”

“Time Travel: Italian Masters Through a Contemporary Lens”
View of “Time Travel: Italian Masters Through a Contemporary Lens,” 2023–24. From left: Ross Bleckner, Day and Night, Hour by Hour, 2023; Josephine Halvorson, Smiley Face, 2023. Photo: Jason Mandella.

Petzel Gallery | East 67th Street

By Donald Kuspit

“Time Travel: Italian Masters Through a Contemporary Lens,” a group exhibition that featured a selection of Renaissance paintings alongside works created by present-day artists, was a type of paragone, except that the debate was not whether painting or sculpture is the superior art form, but whether these historical pieces—executed at a time when grand themes and exquisite craft, among other criteria, determined their value—are better or worse than objects made by artists now, when such antiquated metrics seem well beside the point.

Previews: The New Yorker Magazine – March 4, 2024

A group of small children hold hands and cross a street in Manhattan.

The New Yorker (February 26, 2024): The new issue‘s cover features ‘Victoria Tentler-Krylov’s “All Clear” ‘ – The artist captures New York’s smallest pedestrians as they make their way through the big city.

INSIDE NORTH KOREA’S FORCED-LABOR PROGRAM

Workers sent from the country to Chinese factories describe enduring beatings and sexual abuse, having their wages taken by the state, and being told that if they try to escape they will be “killed without a trace.”

What a Major Solar Storm Could Do to Our Planet

Electricity shooting from the sun to the earth.

Disturbances on the sun may have the potential to devastate our power grid and communication systems. When the next big storm arrives, will we be prepared for it?

By Kathryn Schulz

International Art: Apollo Magazine – March 2024

Current Issue | Apollo – The International Art Magazine | Apollo Magazine

Apollo Magazine (February 25, 2024): The new March 2024 issue features ‘How Italy remade Willem de Kooning’; Does the art world need gatekeepers?; Angelica Kauffman’s sentimental side…

In the studio with… Manuel Mathieu

The Haitian-Canadian artist surrounds himself with unlikely objects to spark his imagination, books about drawing, and about 25 different types of tea

The clockwork marvels that tell a tale of two empires

These timepieces are fluttering, chiming embodiments of how Britain and China traded with each other in the 18th and 19th centuries

Reel life – how Zineb Sedira found herself through film

At the Whitechapel Gallery, the French-Algerian unspools personal and political histories through imitation sets and empty stages