Sunlight drifts across a set of white blinds in dappled patterns as if it had been dispatched from a stellar heaven but then held in check by dense, dark foliage — until those boughs and branches are intermittently shouldered aside by soft breezes. Seeing this play of light is such a quintessential experience of late afternoon summer in a succulently green place that I can almost smell grass and hear the rushing of the wind through leaves. And now I am a boy again, curled on my bed by my window sill, basking in that daylight, watching the leaves on the tree just in front of my house being toyed with by the moving air, and the light, here and there, gurgling through.
But there is no sun visible in the sky at 5:30pm when I visit bitforms gallery. It is the deep dark of winter, thus the sun set some time ago. It is cold. I am surrounded by concrete, glass, plastics, iron, and steel. Yet, standing in the small antechamber at the front of the gallery, the branches and boughs still shift and sway, and the light that makes it through quietly mesmerizes me. The artwork “New Dawn” (2017) really is only fiberglass and brass, fitted with some clever electronics and LEDs, and it’s profoundly sad that this work is so convincing. This piece of technological fool’s gold, created by the UK-based practice UVA, is precisely the kind of work that we will look to make and share once we have thoroughly laid waste to the planet and become even more enmeshed in the global matrix of abstracted electronic participation. At that point, most of what the world will have access to is this kind of simulacra, rather than the lived experience.
“New Dawn,” which is a part of UVA’s Counterparts exhibition, is not merely a harbinger of the coming ecological dystopia; it anticipates what our art will look like when enough glacial ice has melted to cause the majority of the Nile Delta to sink underneath seawater, and temperatures rise so high that entire regions of the planet become uninhabitable for us. It is this kind of art that will touch our nostalgia at the bone, helping us recall the time when we looked around us, at every place that sunlight reached, and thought that summer would last our entire lives.
The Roman-era burial ground is located in Anazarbus (modern Anavarza) in the country’s southern Adana province.
Those with a Didion-shaped hole in their hearts can also bid for portraits of the author, her books, and other personal items.
The Brooklyn organization is now accepting new project inquiries for its fee-based fabrication services in printmaking, ceramics, and large-scale public art.
The union seeks a minimum wage of $20 by the end of 2024; the museum offered only $16.
Blurred Boundaries invites the viewer to recognize the ways in which queer art is not separate or other, but is actually always all around us.
The Newark Museum of Art Presents Jazz Greats: Classic Photographs from the Bank of America Collection
Photographers Antony Armstrong Jones, Milt Hinton, Chuck Stewart, Barbara Morgan, and more capture a breadth of legendary and local musicians and performance artists. On view through August 21.
Francis De Erdely had an intuitive grasp of the inner worlds of people who were coping with a sense of displacement in their daily lives, which he conveyed in his art.
Curator Amber-Dawn Bear Robe brings together historic and contemporary Native clothing designs at Santa Fe Indian Market.
Art and photographs, publications from the 19th and 20th centuries, manuscripts, posters and more are set to cross the auction block on August 18.
As the Uru-eu-wau-wau face continued incursion by Brazilian farmers, they take an active role in this documentary about them.
Arriving amid increased anti-Asian racism and continuing discourse about the inhumanity of its prison system, this documentary is a strong historical gut punch.
A “show within a show” at the Whitney Biennial pays homage to the visual and literary art of Theresa Hak Kyung Cha, whose life was cut short through an act of brutal violence.