Support Hyperallergic’s independent arts journalism.
“A painting and a poem inhabit a different time frame than a story. They are both momentary inhabiters — inhabiters of the moment,” observed the poet Mary Ruefle in a recent interview. There has long been a kinship between poets and visual artists, and some of the best poetry (known as ekphrastic poetry) has directly responded to works of art, translating their colors and textures into words.
This Friday, to commemorate the last days of its exhibition Fictions, the Studio Museum in Harlem has invited six contemporary poets — Joshua Bennett, Desiree Bailey, Marwa Helal, Chanice Hughes-Greenberg, Aracelis Girmay, and Nkosi Nkululeko — to respond to the works on view in the galleries. Fictions is the fifth in a series of exhibitions devoted to emerging artists of African descent and features a wide range of work in video, photography, sculpture, and drawing. What unifies the work is the drive to tell a story, if only through a moment.
When: Friday, January 12, 5:30–7:30pm
Where: The Studio Museum in Harlem (144 W 125th St, Harlem, Manhattan)
More info here.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.