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Citing drug use, city officials in Seattle ordered the Parks and Recreation department to wipe out the Black Lives Matter Memorial Garden in Cal Anderson Park.
“During World War II, it became nonsensical to get involved in painting men playing violins, or cellos, or flowers,”1 reflected Barnett Newman, as he rationalised the value of the (then) unappreciated abstract movement. Today, as we witness the escalation of regional conflicts in Africa, Eastern Europe or the Middle East, Newman s words resonate with renewed significance. In an era teetering on the brink of global conflict, abstract art emerges as a more fitting artistic expression reflective of contemporary world affairs.
Just when we thought we knew the landscape of French art in the first quarter of the 20th century, Marie Laurencin: Sapphic Paris, co-curated by Simonetta Fraquelli and Cindy Kang, shakes up the narrative with a fresh exhibition of a major Parisian painter largely neglected by art history. A bisexual woman (already two reasons for her prior invisibility in that now dated story), Laurencin (1883–1956) carefully crafted a “feminine” aesthetic into a significant body of work that was ahead of its time.