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Posted inArt

Without Mercy: The Bitter Comix of Anton Kannemeyer

In 1986, South Africa was still eight years away from the end of apartheid, and though opposition to the racist ruling system had been mounting for decades, the government continued to suppress rebels and dissidents. Yet that same year, the exiled Afrikaner writer and artist Breyten Breytenbach, a vocal critic of apartheid, returned to South Africa to accept a literary award. It was his first visit to his homeland after being granted early release from a nine-year sentence there on charges of terrorism.

Posted inArt

Scripted Wars, Towers of Power

The United States, under the leadership of George W. Bush, launched its unprovoked, premeditated invasion of Iraq on March 19, 2003. On November 20, 2004, the Museum of Modern Art opened its 630,000-square-foot Yoshio Taniguchi-designed building.

Posted inArt

A Tale of Two Cities: Istanbul Biennial and Istanbul Modern

ISTANBUL — Istanbul has launched a full frontal assault to claim its place amongst rising art centers by hosting the complex and provocative Istanbul Biennial, as well as a massive all-inclusive history of the city’s female artists, Dream and Reality – Modern and Contemporary Women Artists from Turkey at the Istanbul Modern right next door. The timing and juxtaposition of these two shows is not haphazard and should be viewed as twin prongs of an interior exploration and bold emergence.

Posted inOpinion

Cai Guo-Qiang Is Running on Empty

PROVIDENCE, RI — Cai Guo-Qiang’s Move Along, Nothing to See Here opened last Friday at the Cohen Gallery at Brown University in Rhode Island. The inaugural event for Brown’s “Year of China,” the exhibit includes work common to Cai’s oeuvre. The main sculptural work of the show, “Moving Along Nothing to See Here” (2006), has a title comprised of a phrase hear commonly used by policemen at a crime scene. It consists of two life-sized crocodiles, supported by wooden stills, their jaws wide open and writhing in pain.