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robert(a) marshall s Mirror Images Cast a Picture of the Present
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Duane Linklater,
The place I seek to go, 2014, coyote fur, garment rack, hanger, flatscreen TV, Mac Mini, HD video loop, cables, 132 x 66 x 20 . Photo: SITE Photography. Collection of Remai Modern, Saskatoon. Courtesy Catriona Jeffries, Vancouver. January 14, 2021 at 12:51pm
The Andy Warhol Foundation for the Visual Arts has announced the fifty-one recipients of its fall 2020 grants, which total $3.9 million and are issued in support of visual arts programs, exhibitions, and curatorial research. Among the first-time grantees are several dedicated to creating opportunities for emerging and underrepresented artists and writers who identify as BIPOC, LGBTQIA+, and who are living with disabilities. These include Philadelphia’s BlackStar, which prioritizes opportunities for filmmakers and critics, and Chicago’s Sixty Inches from Center and New York’s Wendy’s Subway, both of which focus on innovative arts publishing and archiving practices.
Hari Nef on the art of Nash Glynn
Nash Glynn,
Self Portrait with One Foot Forward and One Hand Reaching Out, 2020, acrylic on canvas, 48 × 36 .
NASH GLYNN IS NUDE. Her body is pink and toned, perched in contrapposto at the edge of a classic American landscape. She’s a colossus. There’s green at her feet definitely grass, some pines maybe, a smear of amber near the horizon. The landscape submits to the Yves Klein blue of a sky she’s turning toward, collapsing longitude and altitude in the lean of her hip. Clouds bloom around and above her; they’re mauve, like the ones at sunset over a beach town. Except there’s no sun in the sky, no source of pink to crush purple in a white cloud. In the absence of sun, there is Nash Glynn, her body turning away. But her head is turned toward me. She looks down at me. She extends her hand. Or maybe she’s pointing. Just visible on the horizon is a rainbow.
signs and symbols opens a photography exhibition by Jen DeNike and Pola Sieverding
Installation view.
NEW YORK, NY
.-signs and symbols is presenting we tell ourselves stories in order to live, a two-person lens-based photography exhibition by Jen DeNike and Pola Sieverding. The exhibition reflects on storytelling; the artists lens becomes the ink that captures her fantastic stage and experiences in time.
We tell ourselves stories in order to live. We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the ideas with which we have learned to freeze the shifting phantasmagoria which is our actual experience. Joan Didion, The White Album, 1979.
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