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Hammer Museum honors artists with awards for Made in L A 2020: a version
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This Year s Made in L A Biennial Highlighted Art That Was Actually Made in a Lot of Other Places—and That s a Good Thing
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The weekend is young, and I’m feeling partial to patty melts and Bloody Marys (with gobs of horseradish,
por please). I’m
Carolina A. Miranda, arts and urban design columnist at the Los Angeles Times, with the week’s essential culture news and chihuahua imitators.
Our cartoon avatars
The
cartoon is endlessly malleable, able to serve as a staple of children’s programming even as it questions gender norms (e.g. Bugs Bunny) or functions as a proponent of U.S. foreign policy (may I introduce you to U.S. soft power ambassador Donald Duck?).
Artist
Paul Pescador is interested in cartoons for those reasons but for many others, too: their saturated color, their emotionality cartoons are pure melodrama and their ability to render bodies in inventive ways. “There is no more abstract version of the body than the cartoon,” says Pescador. “You shift a pencil line and you make something more curved, and you make it more feminine. It can make this remarkable c
Weaving stories: Christina Forrer’s tapestry Gebunden II (2020), at the Hammer Museum, examines family relationships. Left, in the foreground, is part of Nicola L.’s La Chambre en Fourrure, an interactive work that cannot be touched in the Covid-19 era © Joshua White
With fragrant, flowering walkways, the Huntington Library, Art Museum and Botanical Gardens was designed for leisurely strolls. But these days, paths near the American art galleries lead to a small junkyard: a broken fan, some old carpeting, a chest missing its drawers and other discarded objects spread out on the ground. It looks like the makings of a homeless encampment. And it is almost, but not quite, a work of art in the Hammer Museum’s new biennial, Made in LA 2020: A Version, which this year takes place at the Huntington as well as the Hammer.
Young Woman Drawing (1801). The painting was the cover image on
ARTnews for the 1971 publication of Linda Nochlin’s article “Why Have There Been No Great Women Artists?” Courtesy of the Metropolitan Museum of Art, New York.
MoMA hosts a virtual forum on critic Linda Nochlin’s groundbreaking essay “Why Have There Been No Great Women Artists?,” published in
ARTnews in 1971. On the occasion of the article’s 50th anniversary, Roxana Marcoci, the museum’s senior photography curator, and Julia Trotta, a filmmaker, curator, and writer, will look at the barriers to art world success that women have historically faced, and the recent effects of the Me Too and Black Lives Matter movements. Speakers include artists Ming Smith, Legacy Russell, and Zoe Leonard; Myriam Ben Salah, executive director of Chicago’s Renaissance Society; and Wanda Nanibush, curator of Indigenous art at the Art Gallery of Ontario, among others.
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