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There haven’t been very many iconic images or art works coming out of the Occupy Wall Street movement yet things may be changing. In addition to the OWS “bat signal” that we posted about earlier today, this photograph in The Guardian by AP photographer Randy L. Rasmussen may be one of the most incredible images captured during the international protests.
Taken yesterday, during the November 17 day of action at Pioneer Courthouse Square in Portland, Oregon, the young protester being pepper sprayed by riot police is a visual symbol of the power imbalance taking place at these protests. Seemingly faceless black-clad police with visors and helmets are pushing back and harming non-violent protesters. Here the protester’s face is fully exposed to a stream of pepper spray, according to the caption, while an adjacent protester holds up the peace sign. We can only imagine the brutal burning sensation the protester was about to experience the moment after this image was taken.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.