Hyperallergic LABS

Oct 20

(via Hands On and Off: The Forest Fringe Festival)
The Abrons Arts Center hosted the Forest Fringe Microfestival over the weekend of October 3. Forest Fringe originated at the Edinburgh Festival, a fringe within the Edinburgh Fringe, and has become internationally mobile as an independent entity. Though the festival promotes itself as experimental and radical, the events did not prove quite so mind-expanding.
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(via Hands On and Off: The Forest Fringe Festival)

The Abrons Arts Center hosted the Forest Fringe Microfestival over the weekend of October 3. Forest Fringe originated at the Edinburgh Festival, a fringe within the Edinburgh Fringe, and has become internationally mobile as an independent entity. Though the festival promotes itself as experimental and radical, the events did not prove quite so mind-expanding.

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(via Bland in an Interesting Way)
If the War on Drugs’s Lost in the Dream is a brilliant soft-pop masterpiece, a theory I am perfectly willing to entertain, it is brilliant in a way more suited to a platinum bestseller than to a critics’ record. Notwithstanding the band’s arty reputation, their strength is in their massive riffs and grand musical release, not in the subtleties of their instrumental sound and certainly not in the sensitive songwriting.
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(via Bland in an Interesting Way)

If the War on Drugs’s Lost in the Dream is a brilliant soft-pop masterpiece, a theory I am perfectly willing to entertain, it is brilliant in a way more suited to a platinum bestseller than to a critics’ record. Notwithstanding the band’s arty reputation, their strength is in their massive riffs and grand musical release, not in the subtleties of their instrumental sound and certainly not in the sensitive songwriting.

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(via Rainy Day Woman: Jane Wilson Re-Visions Reality)
Some sixty years ago, when she was a young artist involved in the downtown New York City scene, Jane Wilson stopped trying to be an Abstract Expressionist. Of course, Wilson was not alone in that mutiny. But what distinguishes Wilson is how effectively she negotiated a long career premised on a delicate balance between absolutely naturalistic subject matter and an abstractionist’s care for the purity of color and form.
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(via Rainy Day Woman: Jane Wilson Re-Visions Reality)

Some sixty years ago, when she was a young artist involved in the downtown New York City scene, Jane Wilson stopped trying to be an Abstract Expressionist. Of course, Wilson was not alone in that mutiny. But what distinguishes Wilson is how effectively she negotiated a long career premised on a delicate balance between absolutely naturalistic subject matter and an abstractionist’s care for the purity of color and form.

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(via Robert Gober’s Unanswered Questions)
The sprawling, high-ceilinged contemporary art gallery on the second floor of the Museum of Modern Art might have been built for Richard Serra, but Robert Gober owns it.
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(via Robert Gober’s Unanswered Questions)

The sprawling, high-ceilinged contemporary art gallery on the second floor of the Museum of Modern Art might have been built for Richard Serra, but Robert Gober owns it.

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(via The Way the World Ends: Jude Tallichet’s U-Turn)
It’s a full-size Hyundai Accent, circa 2000, collapsed in the middle of the gallery floor. Or rather, the shell of one, bone-white and cracked apart, like a melting iceberg or a flash-frozen relic from the next ice age. In fact, it’s called “Relic” (2014), cast by Jude Tallichet in Forton (an architectural casting stone) from a car she borrowed from a friend. The original Hyundai, just so you know, is still in running condition.
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(via The Way the World Ends: Jude Tallichet’s U-Turn)

It’s a full-size Hyundai Accent, circa 2000, collapsed in the middle of the gallery floor. Or rather, the shell of one, bone-white and cracked apart, like a melting iceberg or a flash-frozen relic from the next ice age. In fact, it’s called “Relic” (2014), cast by Jude Tallichet in Forton (an architectural casting stone) from a car she borrowed from a friend. The original Hyundai, just so you know, is still in running condition.

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(via The Revolutionary Postcolonial Imagination of Surrealism)
In 1945, Andre Breton traveled to the Haitian capital of Port au Prince to deliver a lecture on “Surrealism and Haiti.” In his own words, that lecture:
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(via The Revolutionary Postcolonial Imagination of Surrealism)

In 1945, Andre Breton traveled to the Haitian capital of Port au Prince to deliver a lecture on “Surrealism and Haiti.” In his own words, that lecture:

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(via Photographs of Urgent Wilderness)
Flush with riveting, enigmatic color and luxuriant depth of field, David Benjamin Sherry‘s monochrome photographs radiate beauty, urgency, and a certain humanness — as if their sublime scenes of mountains, forests, and rock formations had been blasted and dyed by a human detonation. People may be absent from these photos, but the sense that the atmosphere is tinged with their emotions and presence, not necessarily joyous or beneficial, is hard to escape.
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(via Photographs of Urgent Wilderness)

Flush with riveting, enigmatic color and luxuriant depth of field, David Benjamin Sherry‘s monochrome photographs radiate beauty, urgency, and a certain humanness — as if their sublime scenes of mountains, forests, and rock formations had been blasted and dyed by a human detonation. People may be absent from these photos, but the sense that the atmosphere is tinged with their emotions and presence, not necessarily joyous or beneficial, is hard to escape.

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(via Another Vandal Hits Jeff Koons Retrospective)
Last night, a graffiti writer identified by the New York Times as Christopher Johnson, 33, of Manhattan, vandalized a fourth-floor wall of the Jeff Koons retrospective at the Whitney Museum of Art. According to the Times, the NYPD said he was “arrested on charges of criminal mischief, making graffiti, possession of a graffiti instrument, and criminal nuisance … He was taken into custody by police after he struggled with the museum’s security guards.”
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(via Another Vandal Hits Jeff Koons Retrospective)

Last night, a graffiti writer identified by the New York Times as Christopher Johnson, 33, of Manhattan, vandalized a fourth-floor wall of the Jeff Koons retrospective at the Whitney Museum of Art. According to the Times, the NYPD said he was “arrested on charges of criminal mischief, making graffiti, possession of a graffiti instrument, and criminal nuisance … He was taken into custody by police after he struggled with the museum’s security guards.”

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