Essays

The Jewish Blues

by Aram Saroyan on April 21, 2014

LOS ANGELES — I first saw Saul Bellow in the early 1960s at a reading he gave one afternoon of his play “The Last Analysis.” The reading took place in a large, light-filled studio on the Upper West Side in New York, for an audience of invited guests.

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Post image for Painting and Poetry: In Conversation with Archie Rand

“As poets remain unpaid workers there is a perverse comfort in the façade of integrity, promised as resulting from that misfortune, which beckons me to trust their company. The idea of a strategy is still alien to poets.”

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Museums

Drones, Data, and Deletion

by Stephen Truax on April 21, 2014

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BERLIN — Two autonomous drones shaped like miniature tanks a little bigger than a kid’s Fisher-Price Power Wheels truck roam the cavernous white hall of the Berlinische Galerie. They have been programmed to sense and approach visitors.

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ReactorWeekend

Required Reading

by Hrag Vartanian on April 20, 2014

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This week, photography’s bias towards dark skin, the world’s tallest building rises, the earliest emoticon, Zorthian Ranch, Noah’s lack of black people, a novella based on Edward Hopper, the paintings of Bob Ross by the stats, and more.

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ReactorWeekend

Weekend Words: Water

by Weekend Editors on April 20, 2014

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On Thursday, the Guardian reported that officials in Portland, Oregon, plan to flush millions of gallons of drinking water “for the second time in less than three years because someone urinated into a city reservoir.”

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Post image for Fagen’s Critical Catalogue (April 2014, Part 1)

In part 1 of this month, reviews of Karmin, Perfect Pussy, Sunkil Moon, and Todd Terje.

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Post image for Weekend Studio Visit: Leslie Baum in Logan Square, Chicago

CHICAGO –– I first saw Leslie Baum’s work in a sprawling group show, My Crippled Friend, at the Canzani Center Gallery (October 11, 2013–January 10, 2014), the main exhibition space of Columbus College of Art and Design (Columbus, Ohio).

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Post image for No Irony, Just Paint: Marzie Nejad’s Fantasy Pictures Are for Real

Plucking something — anything — out of its original context, placing it in a different setting and letting whatever new meanings or implied meanings emerge from the unexpected juxtaposition: such an “appropriationist” gesture lies at the core of postmodernist art-making “strategies.”

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Post image for Wagner with Quotes on: Richard Maxwell’s ‘Isolde’

Director/writer Richard Maxwell was included in the 2012 Whitney Biennial, an unusual, though not undeserved, honor for a theater director. His Isolde, now running at the Abrons Arts Center, is a departure from his recent work, a surprisingly conventional play, which he presents in his customary flat, affectless fashion.

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Post image for Monsters’ Ball: Peter Saul and the Company He Keeps

The great iconoclastic painter Peter Saul, for the first time ever, has turned his hand to curating, gathering together nearly two dozen kindred spirits for a show that revels, as to be expected, in the libidinous and the ravenous, the stunted and the scared, the blinkered and the grotesque — that is to say, humanity. The effect, as to be expected, is sublime.

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