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"Highwaymen" at Charles Moffett - Artforum International

July 13–August 13, 2021
Beginning in the 1950s, a group of young Black men, faced with the prospect of toiling in Florida’s citrus groves, instead learned to paint the windswept palms, motley waters, and singular radiance of the Sunshine State. Unable to show in the South’s segregated galleries, these artists, soon joined by one woman, peddled their work door-to-door or from their cars on the then-new interstate roads, themselves shaped by systemic racism. Today more than two hundred thousand landscapes are credited to this informal school of self-taught painters, who forged a tradition of American regionalism that, ubiquitous but long underrecognized, helped define Florida’s image in the twentieth century. ....

United States , Fort Pierce , Harold Newton , Zack Hatfield , Mary Ann Carroll , Rodney Demps , Alfred Hair , Rainbow Sky , ஒன்றுபட்டது மாநிலங்களில் , கோட்டை துளை , ஹரோல்ட் நியூட்டன் , ஸ்யாக் ஹாட்ஃபீல்ட் , மேரி ஆண்டு கரோல் , ஆல்ஃபிரட் முடி , வானவில் வானம் ,

Another Screen Streams Palestinian Filmakers Free For A Free Palestine

New free feminist streaming service, Another Screen spotlights Palestinian films made by women this last month, with donations going towards relief in Gaza. ....

Israel General , Kaelen Wilson Goldie , Daniella Shreir , Zack Hatfield , Razan Alsalah , Free Palestine , Palestinian Women , Father Was Born , Google Street , Occupied Palestinian Territories , Palestinian Women , இஸ்ரேல் ஜநரல் , ஸ்யாக் ஹாட்ஃபீல்ட் , இலவசம் ப்யாலெஸ்டீந் , கூகிள் தெரு , ஆக்கிரமிக்கப்பட்டுள்ளது ப்யாலெஸ்டிநியந் பிரதேசங்கள் , ப்யாலெஸ்டிநியந் பெண்கள் ,

James Bishop: Remembering How to See - Artforum International

This week, associate editor Zack Hatfield revisits “James Bishop: Remembering to See,” Carter Ratcliff’s 1988 feature on the unclassifiable painter, who died in February at age ninety-three. Art historian Molly Warnock reflects on Bishop’s legacy in the current issue.
John Ashbery once described the art of James Bishop as “half architecture, half air.” In other words, a ruin. In his 1988 essay on the elusive painter, who was born in America but resided in France, the poet-critic Carter Ratcliff revels in the “ruined image” of Bishop’s abstraction, locating in his idiosyncratic treatment of surface, structure, and luminosity a bracing alternative to modernity’s ideas of artistic progress, its tenuously promised futures. “Bishop carries on a demolition whose chief residue is the subtlety that empties his art, opening it to the questions memory supplies,” Ratcliff writes. It’s difficult to imagine Bishop as a wrecking ball. A specialist in the barely per ....

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