#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.

[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

[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.

[longlistshort]

Aaron Zulpo has captured the beauty and quiet of the desert in his enchanting paintings for California Deserts at 1969 Gallery.

From the gallery-

Following his relocation to California, Zulpo’s interest in landscape painting has expanded and become a pivotal aspect of his studio practice. This change has inspired a new series of sensitively observed landscape paintings of the American West. He begins his work in plein air during exploratory hikes through rugged desert terrain. Zulpo’s connection to the land imbues his paintings with a sense of reverence.

In California Deserts, the artist presents a series of recent paintings whose subjects range from the canyons of the Santa Ana Mountains, to the peaks of Mount San Jacinto, to the boulders and century-old Yuccas of Joshua Tree National Park. Zulpo captures the changing atmospheric and lighting conditions of the desert sky, as exemplified in works such as Quail Mountain Dust Storm and Joshua Tree with a Red Sky, bathed in golden, peach, and auburn tones that evoke the allure of the desert at sunset. Other paintings, such as Looking at Maze Loop from Quail Springs, highlight the uniquely expressive quality of cloudforms, which appear, at times, to mirror the craggy rocks below.

Drawing inspiration from early twentieth-century landscape painters, such as Rockwell Kent and the Canadian Group of Seven, Zulpo presents a serious and sustained engagement with the natural world. At the same time, he brings a twenty-first century environmental consciousness to the landscape tradition, calling attention to the inherent virtue and beauty of wild spaces and the need to preserve them.

In 2017, Aaron Zulpo and Johnny DeFeo co-founded The Guild of Adventure Painters. This non-profit organization aims to keep nature at the forefront of the arts by offering residency programs, community building initiatives, exhibitions and public events. Since its inception, The Guild of Adventure Painters has been dedicated to inspiring artists to immerse themselves in the outdoors, cultivating a deeper connection with nature and playing a vital role in its preservation.

This exhibition closes 6/15/24.

[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

[hyperallergic]

In Oscar yi Hou’s paintings, the American flag’s stars and stripes are ribboned, scattered, and reconfigured amongst East Asian artistic symbols in a semiotic constellation around Asian-American sitters, many of whom are queer.

His gutsy canvases render him and his loved ones with their gazes fixed firmly on the viewer, sometimes assuming historically White roles to confront the foundations of American “belonging,” other times calling back to the legacies of East Asian art.

Read more about his work in our New York art guide for August.

[newyorkthegoldenage]

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

Photo: Swann Galleries

[laflamejpeg]

Maison Margiela Early Website Layout.

[worshippdsun]

Already obsessed w/ kurt russell in the thing, I made the mistake of watching Escape from New York and Escape from L.A. and now I am thoroughly unwell about Snake Plissken