It’s refreshing, in this age of ubiquitous self-promotion, to pick up a book modestly titled My Poems Won’t Change The World, the first substantial American anthology of Patrizia Cavalli’s work.
A little known fact: a great obstacle to the building of the Brooklyn Bridge was Rosie the East River Monster, whose tentacle can be seen grasping at the completed structure in an 1883 illustration.
Of all the Seven Wonders of the Ancient World, the location of the Hanging Garden of Babylon remains the most elusive, even with its believed home right there in its name. However, new research suggests it wasn’t in Babylon at all, but in another city over 300 miles away.
Think of T.J. Demos’s The Migrant Image as a field guide to art for those interested in the politics of human rights, globalization, migration, and war.
While we may not participate in miniature yacht races or have games of lawn tennis, the experience of visitors today to Brooklyn’s Prospect Park isn’t radically different from when it first opened in 1867.
Staffan Ahrenberg’s acquisition of Cahiers d’Art a few years ago was a nostalgic purchase. Ahrenberg, the scion of a prominent Swedish collecting family, had his memory jogged on a walk past the publication’s offices in Paris, and recalled seeing its founder’s name, Christian Zervos, amid the spines of his father’s library.
As a nun who embraced both pop culture and contemporary art, Corita Kent refracted the messages of religion through the populist medium of printmaking, leaving a legacy of vibrant art that is just now being fully explored. A new book from Prestel, Someday is Now: The Art of Corita Kent, published in conjunction with a museum survey of the same name, delves into the three decades of work created by the activist artist.
Is it still possible to imagine a book purporting to be about the circulation of images and art within the saturated global network that never mentions the existence of net art and digital art?
Compared to, say, the over 40,000 year history of painting, the two centuries that people have been experimenting with photography is a blink of an eye for a medium, yet its rapid proliferation and dense, evolving culture have partially made up for lost time. Aperture magazine, which recently relaunched with its Spring 2013 issue, makes an ambitious effort.
The 20th-century artist and academic Josef Albers made many significant contributions to the field of geometric abstraction, though the most enduring element of his pedagogical legacy is his 1963 textbook Interaction of Color.
Edvard Munch, tortured and brooding; Andy Warhol, detached and impenetrably cool. The two artists might not have gotten along well as studio mates, but as for aficionados of artistic repetition, they have a definite kinship.
Culled from old medical illustrations and National Geographic, pornographic, motorcycle, and fashion magazine clippings, Wangechi Mutu’s writhing female figures have a dangerous beauty to them, one that’s grotesque and alluring all at once. A traveling exhibition — recently closed at Duke’s Nasher Museum of Art and opening in October at the Brooklyn Museum — surveys her experimentation with history, gender, and race since the mid-1990s.