Much of the artworks for sale emanated a darkly satirical message this past weekend.
In a colossal carousel of horror, Mat Collishaw and Sebastian Burdon reinterpreted the chaotic violence of Peter Paul Rubens’s “Massacre of the Innocents” paintings as a 3D-printed zoetrope.
In a 1483 German Bible, the Garden of Eden is depicted as a corralled green circle; Adam and Even are ejected from its manicured grass to a hilly wilderness, with a trail leading off into the unknown. This idealized interpretation of original sin sits alongside more modern takes on our relationship with our environment in the Museum of Biblical Art’s Back to Eden: Contemporary Artists Wander the Garden.
LONDON — I thought I was going to see Jonathan Safran Foer live and in person Monday night. Sure, it seemed odd that he would randomly be in London with no very recently published book to tour, but who am I to know the details of an acclaimed author’s personal schedule? Literary fun plus art means I’m in.
I’d been promised “enchanted landscapes, fantastic worlds, and strange encounters” and had already voyaged through wartime Italy, haunted hallways, Chuck Close’s art studio, and a seedy peepshow. Then I collided with all three at once. A sedentary carousel of animals and imps suddenly spun into a 3D zoetrope where the fiendish tiny people tried to stab giant snails and jumping fish and smash a bird’s eggs, while butterflies thrashed away to escape their missiles. A strange whirring, creaking noise accompanied the primal scene. It was perfectly otherworldly.
From Artforum: “In press notes, the exhibition is loosely termed a retrospective, but the majority of the works on display are new paintings, many making their world debut — and potentially final stop, if rumors are to be believed — in Kiev.”