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While most of us New Yorkers were hunkering down for snowy days earlier this week and, trying to pretend that staying at home was unusual after a year of pandemic-enforced lockdowns, two artists proved how weak and uncreative we all are.
Enter Melissa Vadakara and Marios Tzavellas, who ventured out to Astoria Park in Queens, New York, to build a glorious image of the “Father of Medicine.” While many renderings of the stately Athenian depict him as bald, the duo decided to offer him some protection from the elements, which was a daring choice considering the medium.
The six and a half foot tall sculpture of the seated Hippocrates was made “as a symbolic protector for the neighborhood from the COVID-19 pandemic,” the pair told the Astoria Post. And this isn’t even their first grand snow sculpture, as they conjured up a Greek god last December and a large “ice queen” early this month, all in Astoria.
We can only imagine what else they may have in store for us, considering that four to eight inches are expected in the coming days. If they take requests, I offer up the Laocoön and His Sons — but then again, I’m one to challenge artists, and these two seem very talented.
Artists really have the ability to make New York a winter wonderland.
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.