* * *
After breaking its spine we notice
More clouds dressed up as brains
Writhing past towers all adrip
In grey snowlight. The skids
Remind us both of that Bruegel
We ought to know, but everyone
From a distance is going natural
Goth. Another Pernod for Mr.
Archer, please. Neon doomsters
Swear everything registered will
Be good, if not especially just.
Eventually the climate overpowers
Inaugural sentiment, breaking
All comers into lists of pursed O’s
Melting down over candy, rejecting
Unasked for snapshots of our
Tackish purple-lit carousel rides
By the Seine’s inviting trashbag
green currents. The anti-concussion
Rules can’t keep up with evolving
Bodies hurtling themselves across
Numbered chalk lines for us
Without guaranteed contracts. No
One truly broke fears that, exactly.
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.
Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.