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In the Art of the Country
This is what I see.
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Opinion
Required Reading
This week, minimalism and class pollitics, art and drugs, hackers extort web users, Zumthor redesign for LACMA revealed, and more.
Opinion
Weekend Words: Heart
"There are two tragedies in life. One is not to get your heart's desire. The other is to get it."
Books
Reader’s Diary: Max Stirner's ‘The Ego and His Own’
In a recent long, too long, much too long article in the London Review of Books, Andrew O’Hagan quoted John Lanchester paraphrasing dear old Edmund Wilson to the effect that poets feel differences among themselves as tantamount to lying.
Art
Encounter with a Gazillion Teddy Bears
Partners (The Teddy Bear Project) is the centerpiece – one might say the heart of — The Keeper, organized by Massimiliano Gioni, with Margot Norton, and Natalie Bell and Helga Christoffersen for the New Museum.
Art
Impure and Arcane
One of the interesting things about Hilma af Klint (1862–1944) is that neither she nor her work can be written into the early history of abstract art.
Art
A Poet’s Paintings, In and Out of the Void
“I never wanted to be a poet,” says the famously prolific poet Lawrence Ferlinghetti in “More Light,” an autobiographical essay about his first ambitions as a painter.
Art
Danny Lyon's Prescient Visions
“We are frail flowers in the field,” wrote Danny Lyon, the politically active, compassionate photojournalist, after leaving New York for Bernalillo, New Mexico, in 1969.
Art
Jill Kroesen's Comeback: 'Collecting Injustices, Unnecessary Suffering' at the Whitney
Thirty years is a long time to step away. Jill Kroesen was deeply enmeshed in the downtown performance scene of the 1970s before she disappeared.
Books
Placing Hope in Ritual: Gabriel Ojeda-Sague's Oil and Candle
In Oil and Candle, the debut full-length poetry collection by Gabriel Ojeda-Sague, ritual and religion are turned to as salves for various societal issues, including racism, homophobia, and war.
Art
When a Splotch Isn't Just a Splotch
This two-gallery extravaganza takes up the tricky gambit of featuring “artists whose work involves a methodical and controlled process of creating seemingly freeform or random daubs and spots.”
News
Evidence Mounts that Rembrandt Used Optics to Paint Self-Portraits
A new study of Rembrandt's self-portraits provides more evidence to theories that the 17th-century artist, among other Old Master painters, used optics to produce his remarkably accurate works.