#new york art shows

[longlistshort]

“After Storm in the Fen”, 2024, Oil on canvas

"Squall Lines", 2024, Oil on canvas

For Rachel MacFarlane’s exhibition, Coming Events Cast Their Light Before Them, at Hollis Taggart, she has painted several dreamlike landscapes based on her travels to places impacted by climate events. She first creates maquettes from her observations (three are on view) and then uses them as the basis for the paintings.

From the press release-

At its core, MacFarlane’s work is about lamenting the loss of specific landscapes through creating and depicting new worlds where humans are no longer the protagonists. MacFarlane spends much of her time immersed in unique geographical environments – often ones that have been heavily impacted by climate change-related weather events. While working on her newest body of work, MacFarlane spent extensive time in places ranging from the Adirondacks to Wolfe’s Neck Woods State Park in Maine, and from Prince Edward Island right after it had been hit by Hurricane Fiona to Clearwater, Manitoba during unprecedented flooding. As has always been her practice, MacFarlane does not document while she travels, instead preferring to absorb the atmosphere of a place and spend time really immersed in its sights and sounds. Upon returning to her studio, MacFarlane transforms her observations into three-dimensional maquettes created out of paper, paint, and plastic.

As MacFarlane describes it, a lot of play takes place at her collage table, as she manufactures new spaces based loosely on the spirit of specific ones, drawing on a myriad of influences from theatre and architecture to the world-building of science fiction literature and movies. The paintings in this show were specifically influenced by MacFarlane’s research into the Augsburg Book of Miracles, a manuscript depicting celestial and weather phenomena made in Augsburg, Germany in the sixteenth century. MacFarlane was moved and inspired by how these anonymous illustrators centuries before her were also dedicated to tracking warning signs in the landscape and to recording them in creative ways.

While she describes the model-building as a distancing method, it is also one that creates intimacy, as the scale shift to a shallow box model leads to the creation of a miniature world we can literally hold in our hands versus the enormity of the environment. After MacFarlane distills the memory of a place into an object, she further transforms it into its final form on the canvas, using bold colors and thick brushwork that highlights the painterliness and artifice of her landscapes. As art critic Barry Schwabsky notes in the catalogue essay, these multiple translations and transformations allow MacFarlane to “operate with and against flatness and depth, illusion and physicality, naturalness and theatricality… Her work gives pleasure but also warns that with all these unavoidable antitheses, the choice of one pole or the other would be hopeless, and we have to learn to live with the tensions between them.”

This exhibition closes 5/25/24.

[k2-truther]

MIDNIGHT ALLEY HYPE!!!

...through Celestial Spear on the gameboy?

(So, fun fact, I started these shortly after Celestial spear dropped but unfortunately lost steam on em'. Then I saw Jacob doing pixel Drawtectives and, well. You know I had to finish up these bad boys! And when better to drop these bad boys than to celebrate SEASON 3 BAYBEE!!!!!!

Also if you saw me post and delete the wrong version of this post, no you didn't.)

[magpie-art]

Going to solve the rat murder

[91939art]

That's for older people, who remember Evan Daniels joining Morlocks

🌟🌟patreon | commission us🌟

We could go at length about how much we love RoLo, Romy, Jotts, and Cheriks, like nghhhhhh. There are more obscure ships, like Riptide x Azazel and there's a twist there, too...

[webdiggerxxx]

꧁★꧂

[newyorkthegoldenage]

Lacking space, Joseph Bruno, Jr., displays his paintings on the side of a newsstand during the 34th semi-annual Washington Square Art Exhibit, September 14, 1948. Instead of a glass of fine wine, Bruno has a bottle of soda pop at this particular art show, which is at the corner of Sullivan St. and West Third St. in Greenwich Village.

Photo: Robert Kradin for the AP

[gooseontheloose41]

[sofiasfanartcollection]

Day 24 of TMayNT: Favorite turtle + villain dynamic

I chose Hypno-potamus from Rise of the TMNT for this prompt :]

I love his character development and how he seems to grow a soft spot for the turtles.

These sketches are redrawn from screenshots except for the doodles of rabbits, doves etc :]

(Note: I chose to draw Hypno in a top hat rather than a turban because one of the writers who worked on the show said that Hypno was not wearing the turban for religious reasons. It was part of his costume. Also, Hypno’s canon design, especially as a human, has similarities to harmful stereotypes of Romani people—so a few of Hypno’s fans on here including me like to depict Hypno with a top hat instead.)

the TMayNT challenge is hosted by @mikasleaf see more at @tmaynt

[danishphoner]

one thing that really fascinates me about alex is his devotion to art – and more specifically, how he chooses to get some inspiration from scientific works of what he aims to implement in his art. every time one gets to examine some of his lyrics, or even how he explains these lyrics in an interview, they can be greeted by some bits of actual scientific information. an example is how he named his taquería on the moon with the term “information-action ratio”, coined by the critic neil postman, and referenced it in the song four out of five, something that might also indicate an interesting articulation with postman's concept. the line “cute new places keep on popping up”, for example, can express his well-known sardonic discontent regarding the flood of information being generated and transmitted over and over and, as much as it seems visually appealing and does give the idea of benefiting from advanced technologies, it doesn't really add anything substantial to the receiver's critical thinking – and worse, it distances the information receiver from the sender in a communication channel, according to postman.

what i'm saying with this interpretation is, it's known that alex is enamoured with the idea of gathering a bunch of references and condensing them into a mixture of metaphors in his writing, but it's so thrilling how, at times, we can find some bits of science inside of it – and it's even more exciting, just like playing a puzzle game, to find these references and analyse them by doing a similar research to what he did to create his works.

[vimbry]

prompting what. sorry prompting what now. what did he say

[razberry-cookie]

I feel crazy I love him sm

[longlistshort]

Laura Wheeler Waring, “Girl with Pomegranate”, ca. 1940, oil on canvas

Winold Reiss, “Langston Hughes”, 1925, Pastel on illustration board

Winold Reiss, “Alain Leroy Locke”, 1925, Pastel on illustration board

The Harlem Renaissance and Transatlantic Modernism at The Metropolitan Museum of Art showcases some of the outstanding work created during this time period. The exhibition also provides some background on the artists, their peers in the art world, and their community.

From the museum-

The Harlem Renaissance emerged in the 1920s as one of the era’s most vibrant modes of artistic expression. The first African American-led movement of international modern art, it evolved over the next two decades into a transformative moment during which Black artists developed radically new modes of self-expression. They portrayed all aspects of the modern city life that took shape during the early decades of the Great Migration, when millions of African Americans left the segregated rural South in search of freedom and opportunity in Harlem and other expanding Black communities nationwide.

This exhibition explores how artists associated with the “New Negro” movement-as the Harlem Renaissance was originally known, after influential writings by the philosopher Alain Locke and others-visualized the modern Black subject. It reveals the extensive connections between these artists and the period’s preeminent writers, performers, and civic leaders. At the same time, it reconstructs cross-cultural affinities and exchanges among the New Negro artists and their modernist peers in Europe and across the Atlantic world, often established during international travel and expatriation.

This complex, multilayered story unfolds through portraits, scenes of city life, and powerful evocations of Black history and cultural philosophy. Highlights include seldom-seen works from historically Black colleges and universities and culturally specific collections. Across its broad sweep, opening with founding ideas and concluding with activist imagery made on the cusp of the civil rights era, it establishes the critical role of the Harlem Renaissance in the history of art as well as the period’s enduring cultural legacy.

Horace Pippin, “Self Portrait”, 1944, Oil on canvas, adhered to cardboard; and “The Artist’s Wife”, 1936, Oil on linen

The caption for the above paintings reads-

Contemporary artist Kerry James Marshall has described Pippin’s self-portrait as a “monumental statement of self-confidence.” In this small painting, tightly cropped at bust length, Pippin gazes confidently at the viewer, his firmly drawn likeness reflecting a well-disciplined hand. Pippin portrayed his wife, Jennie Ora Fetherstone Wade Giles, at three times the scale of his own image, but he unified the two paintings by using a similar palette. Jennie’s blue dress is echoed in the background of his portrait, while the background of her portrait is picked up in the artist’s tie and button-down shirt.

The portraits in the exhibition are not the only standouts. Below are a few more selections.

Suzanna Ogunjami, “Full Blown Magnolia”, 1935, oil on burlap

William H. Johnson, “Flowers”, 1939-40, oil on plywood

Aaron Douglas, “The Creation”, 1935, and "Aspiration", 1936,Oil on masonite

From the museum about artist Aaron Douglas–

A core objective of the Harlem Renaissance was to portray the history and cultural philosophy that gave shape to a specifically African American identity and worldview. The artist Aaron Douglas, whose monumental murals earned him acclaim as the period’s foremost history painter, was also respected for his masterful use of biblical allegory to convey aspirations for freedom, equality, and opportunity.

Douglas first developed his signature silhouette figural compositions-derived in part from Cubism, Egyptian tomb reliefs, and American popular culture-for book and magazine cover illustrations in the late 1920s. He later elaborated this distinctive style in large-scale works for public projects and institutional commissions nationwide as well as at Fisk University in Nashville, where he established the art department and taught for thirty-eight years. Both Douglas and the sculptor Augusta Savage, founder of a Harlem community art school, created art inspired by the work of the author and composer James Weldon Johnson.

Laura Wheeler Waring, “Mother and Daughter”, 1927, Oil on canvas board

About Laura Wheeler Waring’s painting Mother and Daughter from the museum-

Mother and Daughter is perhaps the most direct engagement by a prominent Black artist of this era with the controversial topic of racially mixed families; its very existence was a disruption of the silence on the subject within certain segments of society. Waring experimented with some of the modernist pictorial devices favored by Alain Locke in her portrayal of a Black mother and her white-presenting daughter, rendering them not as specific individuals but as generic types emblematic of the omnipresence of racially mixed families. Flattening their near-identical facial features in profile, Waring established the true subject of the painting via the title and through the work’s most prominent element: the divergent skin tones that point to the subjects’ radically different paths through a social life defined by color lines.

Beauford Delaney, “Dark Rapture (James Baldwin)”, 1941, Oil on masonite

Finally, this portrait of James Baldwin by Beauford Delaney was also a highlight.

From the museum about the work-

Delaney met the writer and civil rights activist James Baldwin in 1940. Finding common ground on multiple fronts-intellectual, social, and artistic-the two gay men began a friendship that would last thirty-eight years. Dark Rapture, the first of Delaney’s several portrayals of Baldwin, presents the author in a thickly painted, expressive tonal study of reds, browns, and blues against a brightly hued landscape. Both introspective and joyous, Dark Rapture stands as a visual manifestation of queer camaraderie, identity, and the search for belonging in the modern world.

This exhibition closes 7/28/24.

[eastvillagetripster]

Past meets Present

3D printed pre-Columbian Maya wind instrument, part of artist Clarissa Tossin's work at the Whitney Biennial, Whiney Museum of Art, 99 Gansevoort Street, Meatpacking District, New York City.

[trenchcoat-full-of-snails]

HELLO IVE BEEN AFK FOR DAYS BUT I GOT TICKETS TO SEE WILL WOOD IN DECEMBER HOLY FUCK I AM GOING TO CRY

[savethecolytecampaign]

Here is our surprise!! We are back in Times Square in NYC as part of the SAVE THE ACOLYTE campaign, and we will be here ALL WEEK!! 22-11-2024/28-11-2024

This is part of the GoFundMe campaign, thank you to everyone who donated, thanks to the Acolyte team for all their support ALWAYS, they are truly amazing, and thanks to the entire ACOLYTE FANDOM that keeps fighting day by day!! In the comments, we have left the link so you can watch it, it will be every 45 minutes until 11:45pm NY time!! Every day we will keep you updated on what time you can watch it!! The power of one, the power of two, the power of MANY!

LINK: https://share.earthcam.net/tJ90CoLmq7TzrY396Yd88A4kdLdbDd6oQl5D9Ktzt8U/times_square_locations/billboard_view/live

THANK YOU ALL AND PLEASE, KEEP FIGHTING!!

CHECK OUR WEBSITE: savetheacolyte.com

[newyorkthegoldenage]

William Steig drew this handbill to promote Washington Square's semi-annual art exhibition, 1933.

Photo: Swann Galleries