LOS ANGELES —Travel around East and Southeast Asia enough and you’ll invariably come across at least one big Buddha. Cut from stone or marble or any other substantive material, they dominate the room with their presence. Then there’s Kobe-based sculptor Yuji Honbori.
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This week, studios in California, Illinois, Rhode Island and New Zealand.
Here at Hyperallergic we remember the days when The New Museum, and their then chief curator Richard Flood, were most commonly associated with an unfortunate statement that equated bloggers with prairie dogs. Those out-of-touch days are no longer and as fate would have it, Mr. Flood even blogs!
Since his passing in 1669, Rembrandt has had a vibrant second life selling cigars and teeth whitening kits. His “artsploitation” — like that of monk turned liqueur Fra Angelico — offers a cautionary tale in a world searching for untapped and undefended brand equity. Social media reveals the odd cultural conflations of artists as products and brands.
A few of the locals intermingled with the art world of New York City and Miami in the huge Barn-like building of Basilica Hudson on the outskirts of the town where NADA held its 2012 Hudson art fair. The vibe is relaxed — detached from the frenzied energy of New York art gatherings — stirring genuine curiosity about the objects that lay throughout the Main Hall.
There are important questions that art world thinkers have asked themselves for decades. Why should art be confined to the white cube? When does something become art? How do you define art? These are important questions to ask, but I am going to ignore them for this photo essay on dog art. Are these beautiful canine specimens works of art? Maybe not, but that doesn’t mean that we at Hyperallergic love them any less.
Last week, I trekked up to Lincoln Center to see part of The Clock, Christian Marclay’s film collage that has had the art world’s knickers in a twist for about a year and a half now.
In light of Jerry Sandusky’s recent conviction for sexually abusing 10 boys, the statue of Joe Paterno, the former football coach of Pennsylvania State University who failed to alert authorities to the abuse, outside the school’s Beaver Stadium has quickly become an extremely controversial symbol. Although Paterno died of natural causes this past January at 85 years old, his statue remained as a glaring reminder of Sandusky’s horrific actions and the inexcusable inaction of Paterno and others. With threats of the statue’s destruction and a strong public outcry against it, Rodney Erickson, president of Penn State, released a statement last week explaining his intentions to immediately remove the statue.
Sex is fundamental to our existence, but expressing it always involves some pussyfooting around — otherwise we’d have to come to grips with gonads and gestation, when fulfilling our biological purpose is the last thing on our mind. Even the word “sex” is often too straightforward, so we rely on euphemism and innuendo to obfuscate the obvious for the sake of modesty. There has always been one haven, however, for letting it all hang out: art, from antiquity on, has made disrobed humans look more like demigods than animals.
From now through September 12, upon entering the gallery Luxembourg & Dayan, which is housed in a townhouse on the Upper East Side, you will see a series of colorful paintings based on patterns of lace. Deeply beautiful, the paintings work well in the posh, pristine interior — they seem to fit their surroundings. On the wall just beyond them, you’ll see the title of the exhibition you’re viewing, which may not be quite what you expected, given all the abstraction and color and lace: “Mark Flood: The Hateful Years.”
This week, Syrian heritage under threat, invisible art, Franz West remembrance, Etsy’s feminist disappointment, Ai Weiwei as Warhol, fashion criticism and more.