This week, a new public art work by Ursula von Rydingsvard, a former Yves Klein model speaks, the original webcam girl, podcasts, and more.
“Idealism, alas, does not protect one from ignorance, dogmatism, and foolishness.”
Thanks to Blood Meridian, I’ve learned, at least temporarily, the meanings of “quirt,” “pritchel,” and even the seemingly ultra-rare “malandered.”
More than merely taking a side in a long-running coterie debate, Look’s selective disclosures of its method stand out because they represent a way of pointing to artistic process without fetishizing it.
At one point, while looking at Roy McMakin’s four identical green tables, I had the sudden urge to wipe the dust off one of them, except there wasn’t any dust.
Marco Breuer has been making abstract photographs since the early 1990s. However, in contrast to Aaron Siskind, whose black-and-white photographs of walls were linked to the gestural paintings of the Abstract Expressionists, particularly those of his friend Franz Kline, Breuer works with sheets of chromogenic paper.
While writers have drawn a line, so to speak, between Soriano and Sol LeWitt, it seems to me that there are profound differences between their wall drawings. Whereas LeWitt’s self-contained works make no reference to the changes of everyday life, Soriano’s are based on time, light, and shadows cast by real things.
How did a sharply dressed insurance agent with a desultory love life, who preferred brothels to relationships, who held crappy middle management jobs before retiring early due to poor health, become, as his one-time lover Milena Jesenská puts it, a “clairvoyant” storyteller, let alone one with a still-unrivalled capacity to take readers deep into the cold core of what it means to be alone and to be human?
There’s a paradox at the heart of this music: constructing a simulation of hedonism takes extraordinary discipline.
Read alongside his music, Richard Hell’s journals help us understand the formation of punk culture as an intellectual as much as an aesthetic movement.
Don Voisine’s pieces demand attention; you need to study them up close and from a distance to fully appreciate the illusions the artist creates by way of a handful of shapes and a limited but resonant set of colors.
A mix of blue-chip names and energetic younger artists on the Lower East Side is further evidence of the increasingly blurred boundaries among Manhattan’s art districts.