From 2007 to 2013, New York–based photographer Richard Renaldi approached strangers across the United States and asked them to pose together, close, as if they were friends or lovers.
The story of Arman Manookian, one of Hawaii’s foremost modernist painters of the 1920s and ’30s, is full of mystery and sadness.
Everybody dies — that’s both a truism and the name of new book by Ken Tanaka with David Ury, who may or may not be the same person.
Before even opening The Object, Whitechapel Gallery and the MIT Press’s latest installment in the Documents of Contemporary Art series, the book’s title stares back, interpolates itself, asking questions: What is an object? Which object?
Did you know that the Chupa Chups lollipop logo was designed by Salvador Dalí? Or that Vincent van Gogh only sold one painting in his lifetime, despite the fact he created hundreds of works? James Gulliver Hancock has compiled these facts both familiar and strange into illustrated portraits of the artists.
Yinka Shonibare MBE’s decapitated mannequins in their vibrant batik fabric outfits cavort through a collage of influences that the British-born, Nigeria-raised artist has excavated from the complicated history of culture.
The body is a sick place. Its reality is viscera. Kim Hyesoon’s poems are composed of these unsightly and unpleasant viscera. They squirm, blind and deaf like newborn puppies, then grow up and live in a dog-eat-dog world. This world is called Sorrowtoothpaste Mirrorcream.
While data visualization can seem like a modern design focus, it really has its roots in the High Middle Ages when a sudden rise in information and population resulted in the need to convey ideas in an accessible way.
Brooklyn-based photographer Rachel Sussman spent nearly a decade tracking down the elders of our world, where life is measured in centuries instead of years.
Jon Rutzmoser’s thin book of poetry packed with thick descriptions of dicks, dire and dramatic Oedipal complexes, heavy-petting psychoanalytic theory references, and Disneyland descriptors made me laugh, pissed me off, had me rolling my eyes, and had me wondering what it means to write poetry today.
The National Portrait Gallery in London has published a compendium of what portraiture means for the 21st century. While the media may be more tech-heavy than previous centuries, the examination of self remains, perhaps with even more questions of what that means than before.
What’s stunning about Matt Kish’s illustrations for Heart of Darkness — one for every page of Joseph Conrad’s text — is how sunny they are. His modest palette comprises yellow, green, black, and white, with the occasional hit of red, orange, or blue. The novel, on the other hand, is tonally dark: sepulchral and miasmic.