This week, clear coffee, gender-variant Indigenous art, a drone’s-eye view, Melania Trump’s photographic eye, I.M. Pei at 100, critic Jerry Saltz’s former life as an artist, and more.
“A soiled baby, with a neglected nose, cannot be conscientiously regarded as a thing of beauty.”
When René Magritte wrote “This is not a pipe,” he wasn’t negating the pipe so much as he was negating the language with which we attempt to grasp it.
For those who have followed Haynes’ work, her open-ended, experimental approach is not surprising. She is both rigorous and adventuresome without ever claiming these qualities for herself.
Thornton’s art is the result of his research into the ways different religious traditions convey the underlying nature of mystical and occult experiences.
In its attempts to aestheticize mass destruction and memorialize the aftermath, Central Command delivers a clunky outtake of our near-nuclear demise.
Besides examining in-depth both the early and late Maine periods, Marsden Hartley’s Maine includes a fine essay on materials and techniques, based on careful examination of a dozen works, which shows a surprising continuity in composition and methods across Hartley’s career.
Iron Moon: An Anthology of Chinese Worker Poetry, edited by Qin Xiaoyu and translated by Eleanor Goodman, collects work by Xu Lizhi and 30 other worker poets.
Moody guys excel at mood music.
Marianne Bernstein, an artist and curator of this exhibition, told me that part of her interest in assembling this exhibition was to chronicle the changing storyline of Sicily and to encourage non-binary thinking.
A meta-besotted, multilayered, impudent, lacerating exhibition that pricks pretense and self-delusion on every level.
An exhibit at the Denver Art Museum conceives of the American West according to art history, but also through the lens of our current cultural climate.