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.
A host of creative, kind, brave, funny people go unsung in No Spectators, which is centered on a narrow, affluent segment of the Burning Man population.
SAN FRANCISCO — There’s something deliciously subversive about an old-guard, establishment art gallery mounting an adamantly low-tech, analogue art show that celebrates dysfunction, messiness, and thwarted purpose, and doing it at the vortex of an industry that fetishizes streamlined, enhanced, digitized functionality.
The ephemeral circumstances of the festival and the disposition (natural, habituated, or chemically enhanced) of so many attendees creates an unusual environment for viewing and engaging with art.
LOS ANGELES — The list of ways the US has negatively influenced the rest of the world is long and shameful: unnecessary, interminable wars, nutritionally inane fast-food chains, a habit of wasteful consumption based on instant obsolescence. The list goes on, and one can see why at least some of our exports caught on.
LOS ANGELES — “You don’t experience the sublime looking through double glazing, or at a distant electric storm, or watching a sea rage on TV.”
In Silent Dialogues, art historian Alexander Nemerov, son of former US Poet Laureate Howard Nemerov and nephew of Diane Arbus, traces his father’s evolving attitudes toward photography and his sister’s work in particular.
In Wagstaff: Before and After Mapplethorpe, Philip Gefter’s new biography of collector, curator, and market force Sam Wagstaff, the author argues that it was not only his subject’s life that was transformed by his relationship with Robert Mapplethorpe.