Weekend


Spearheaded by John Yau, Thomas Micchelli, Albert Mobilio and Natalie Haddad

BooksWeekend

Squaring the Circle

by Elizabeth T. Gray Jr on July 23, 2016

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John Peck is the author of ten volumes of poetry, a psychoanalyst, translator of Euripides and C. G. Jung’s The Red Book, a poet under-appreciated by or unfamiliar to most, yet long and deeply admired by a cadre of serious poets and critics on both sides of the Atlantic.

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MusicWeekend

Eleven Stories by Brandy Clark

by Lucas Fagen on July 23, 2016

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Country singer Brandy Clark’s new album, Big Day in a Small Town, out since June, is rocking loud and jangling pretty, but the temptation to treat her foremost as a lyricist remains.

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GalleriesWeekend

Clowns Never Get Caught

by Stan Mir on July 23, 2016

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Political campaigns, like Jasper Johns’s painting, “Flag,” are based on dreams.

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Post image for The Shelf Life of Political Art

Tucked into a side wall at Postmasters Gallery in Tribeca, as part of a handsome group show called Grayscale, there are five new drawings by William Powhida, one of which is titled “Is Donald Trump an Existential Threat? Or Just A Major Asshole…”

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ReactorWeekend

Required Reading

by Hrag Vartanian on July 17, 2016

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This week, Cleveland artists and the RNC, Nicole Eisenman’s genius, the Baton Rouge protest image in context, blackness and contemporary art, and more.

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ReactorWeekend

Weekend Words: View

by Weekend Editors on July 17, 2016

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“The radical invents the views. When he has worn them out, the conservative adopts them.”

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Post image for Reader’s Diary: Kevin Young’s ‘Jelly Roll’

So many poets out there.

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GalleriesWeekend

Better Days

by John Yau on July 17, 2016

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In 1987, Joe Becker, Lee Collins, and Mark began investigating the possibilities of generating a Universal Coded Character Set (UCS) that would, among other things, enable a computer to encode, transmit, and translate one language into another.

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MuseumsWeekend

Fault Line

by John Yau on July 17, 2016

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The first paragraph of Lev Manovich’s groundbreaking essay, “Database as Symbolic Form” (1999) came to mind about three minutes after I began pouring over the weird, wacky, wild and wooly stuff displayed under glass in Tony Oursler: The Imponderable Archive at the Hessel Museum of Art.

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Post image for Knowing Better: Brian Blanchfield’s Essay Collection ‘Proxies’

The 25 essays in Brian Blanchfield’s Proxies are erudite and intensely personal, deftly traversing the distance between the intellectual and the corporeal, between the meditative and the resolute.

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