Weekend


Spearheaded by John Yau, Thomas Micchelli, and Albert Mobilio

ReactorWeekend

Required Reading

by Hrag Vartanian on August 17, 2014

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This week, photography’s truth, the media’s numbness to torture, the clock of the Met Museum, mass art, a photo no one would publish, mistakes in Medieval English architecture, and more.

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ReactorWeekend

Weekend Words: Flag

by Weekend Editors on August 17, 2014

Peter Paul Rubens,

This week it was revealed that the masterminds behind the mysterious appearance of a white flag atop the Brooklyn Bridge on July 22nd were artists after all.

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Jeff Koons,

Recently, I read a statement by Kenneth Turan, film critic for the LA Times, that struck a chord. As a poet and art critic, it is impossible to ignore the reams of exaggeration I am bombarded with on a daily basis, from blurbs attesting to the gorgeous mastery to be found in a young poet’s first book to the unrivaled brilliance to be encountered in an artist’s most recent exhibition.

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Fia Backström,

An intriguing concept: how to create an art exhibition about the inability to communicate? That is what curator Rachel Valinsky has set out to do in Itself Not So, the current group show at Lisa Cooley on the Lower East Side, and for the most part, the selection she has made neatly vaults past the inherent paradox of the proposition.

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Joyce Robins,

The current group show at Canada, Anthropocene, casts a very wide net. The term, which means “new human,” is the name for the current geological period, which began with the transition from hunting-gathering to agriculture, leading to the foundation of formal societies.

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ReactorWeekend

Required Reading

by Hrag Vartanian on August 10, 2014

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This week, museums of the mind, Google captured in photos, a leaked document by Manifesta 10 curator Kasper König, 30 years of cell phone design, Sonny Rollins spoof goes wrong, online curators, and more.

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ReactorWeekend

Weekend Words: Walk

by Weekend Editors on August 10, 2014

Thomas Gainsborough,

This week, the Guardian reported that Dallas, which “shares with Detroit the honor of being one of the two most car-dependent major metropolitan areas in the US” may be losing its affection for the automobile.

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Marilyn Lerner's studio, New York

I first went to Marilyn Lerner’s studio shortly after I reviewed her show at John Good for Artforum (May, 1989), and have gone periodically ever since.

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Gary Wragg,

In 1978, the esteemed British curator Bryan Robertson saw fit to compare the promise of painter Gary Wragg’s emergent career with that of the young Jackson Pollock. It is a comparison lent some weight by the fact that Robertson had written a monograph and organized a major exhibition devoted to Pollock’s work when he was Director of London’s Whitechapel Gallery.

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Installation view, 'Amy Sillman: one lump or two'

Considering that I had always thought of Amy Sillman as an abstract painter, I was surprised to encounter, after seeing her mid-career retrospective at the Hessel Museum of Bard College, an oeuvre that was entirely about the body, touch, and the awkwardness of human interaction.

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