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Filmmaker John Wilson has a practice not quite like anything else you’ve seen before. He captures reams of footage of mundane occurrences (usually around New York City, where he lives), and then edits it together with offbeat narration that constructs small stories about everyday life. The results are strange and difficult to describe, but often incredibly funny. For instance, in the most recent episode of his new HBO show How To with John Wilson, his voiceover about feeling overwhelmed in his personal life plays over a shot of a woman getting absolutely swarmed by pigeons in a park.
But this is no pure randomness. Wilson also provides surprising insights, connecting subjects you’d never consider by drawing on the observations he makes around the city. The new episode is all about the pervasive construction scaffolding all over buildings in NYC, and looks into the various ways that people live with these structures, their unintended hindrances (such as to people with disabilities), and their differing aesthetics. It’s this kind of thinking outside the box that makes this show a continual joy to watch.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
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.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.