Philip Guston and the Poets, currently at the Gallerie dell’Accademia in Venice, shows the significant influence of poetry on Guston’s work, especially after he retreated from the art world.
A collaboration between artist Liliya Lifanova, composer Hiroya Miura, and choreographer Davy Bisaro debuts this week with open rehearsals and a performance.
At this year’s New York International Fringe Festival, artist Daniel Domig and actor Christopher Domig have collaborated on The Waste Land, an installation in which the latter quixotically plays with objects and rolls around in sawdust while reciting T.S. Eliot’s poem of the same name.
For whom do images of a conflict zone, as those Wafaa Bilal has recreated in his Ashes Series, bear witness? How is this memory constituted? In his first solo show at Driscoll Babcock, the artist and NYU professor takes as his starting point newswire photographs of destruction in Iraq, transforming them via scale reproductions into dioramas where bodies are traded for a volcanic scattering of human ashes.
T.S. Eliot’s claim that April is the cruelest month feels particularly true during tax season. Assuming you’re an artist in the United States who makes at least $10,000 a year, you may be scrambling to file your return before tomorrow’s deadline.
What degree of willful perversity is required to think of Peter Saul as heir to Velázquez? Perhaps as much as it takes to plunk a Peter Saul show inside the ultra-blue-chip Mary Boone Gallery, but that’s where we find ourselves on the eve of All Fool’s Day, 2012.