(via Curating the Mind of John Altoon)
LOS ANGELES — John Altoon lived in Venice, California, back in the day, during the 1960s, before the ’70s kicked into polyester high gear. In his current retrospective at the Los Angeles County Museum of Art, curator Carol S. Eliel organizes a view of this Los Angeles artist’s work that spans from his early beginnings in art — heavy strokes of more Cubist-type work — to his delicate, sexually charged ink and watercolors leading up to his death.
(via Cairo Policy Journal Delves Into Art and Politics)
The summer issue of the Cairo Review of Global Affairs mingles various aspects of the political ferment in the so-called Middle East and North Africa (MENA) region with the world of art and aesthetics. Though the quarterly journal, published by the American University in Cairo, typically tackles more policy-oriented fare, the issue is compelling, and features a balanced selection of contributions ranging from a sedate and comprehensive essay by David Joselit on art’s role in (civil) society to a manifesto from the outspoken Egyptian artist Ganzeer.
Tyler Kline, “Slowly Empires form and Decay” (2014)
Mixed Media on Board
(via ArtRx NYC)
This week is all about transporting yourself. If you want to explore some psychedelic shamanism, then I suggest you attend the MoMA PopRally Sigmar Polke event this Wednesday night. If you want to get away for the weekend, then check out Hyperallergic’s great day trip to the Hamptons. But if you’d rather stay in the five boroughs, then there’s still so much, including a hip hop show at Gavin Brown Enterprises, experimental short films at Lisa Cooley Gallery, and an Ai Weiwei program at the Brooklyn Museum.
(via Foul Weather Foils Floating Fowl Facsimile)
A Chinese company is on the hunt for the world’s largest rubber duck, last seen Wednesday floating on a river in southwest China, the Wall Street Journal reported. The giant bath toy, standing 54-feet-tall and weighing one ton, is the work of Dutch artist Florentijn Hofman, and has been touring the waters of the world since 2007.
Adam Hillman, “Untitled” (2012) Pen and Sharpie on Paper
(via The Unstable Art of Pattern Recognition)
Fixed Unknowns, the current exhibition on the upper level of Tribeca’s Taymour Grahne Gallery, breeds constant questioning of the image before the eyes. The group show featuring works by Hannah Whitaker, Shirana Shabazi, and Kamrooz Aram embraces the unstable, seeking to topple the stasis of the two-dimensional plane.
Kristin Richards, “drywall 001” (2014)
drywall tape, lumber crayon and roofing paper on drywall panel
24 x 24