Browsing: Art

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WITH A WINK to Oscar Wilde, R. Tripp Evans’ The Importance of Being Furnished celebrates four influential Americans—Charles Leonard Pendleton (1846–1904), Ogden Codman Jr. (1863–1951), Charles Hammond Gibson Jr. (1874–1954), and Henry Davis Sleeper (1878–1934)—whose imaginative houses, now public museums, marked a pivotal shift toward personal expression in home design.

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KNOWN for her large-scale collage portraits of Black women, the critically acclaimed artist Mickalene Thomas was born in Camden, New Jersey, in 1971. Introduced to art as a child by her mother, fashion model Sandra Bush, she earned her BFA from New York’s Pratt Institute and her MFA from the Yale School of Art. She has accepted various artist residences and received numerous prizes. She now lives and works in Brooklyn with her partner and frequent model Racquel Chevremont.

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TRANS HIRSTORY in 99 Objects has been my most popular coffee table book this summer. It has beautiful typography and color plates. It has the heft of art books by Taschen, but it’s published by another German art publisher, Hirmer Verlag, in conjunction with the Museum of Trans Hirtory and Art (motha). And it’s the catalog for an exhibition that has yet to happen!

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James Baldwin and the Voices of Queer Resistance celebrates the 100th anniversary of the writer’s birth in 1924. The exhibition at the Smithsonian’s National Portrait Gallery in Washington is a small but radical combination of faces and events that focus on Baldwin’s Civil Rights activities during the 1960s along with the activists he knew and shared his politics with, including Martin Luther King, Jr., gay activist Bayard Rustin, playwright Lorraine Hansberry (who was largely closeted), singer Nina Simone, poet Langston Hughes, and many others.

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Haring’s populism, his desire to bring art to the masses, serves as the most prominent theme in both shows. This is captured most succinctly in the title of the show Keith Haring: Art Is for Everybody (which traveled from Los Angeles and Toronto to arrive in Minneapolis, and features an expansive catalogue).

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Dalí and Lorca met briefly at the opening of Lorca’s Doña Rosita the Spinster in 1935. They told a journalist: “We haven’t seen each other in seven years but it seems like we never stopped talking.”

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Esther Pressoir is both an engrossing biography, with its roots in serious research, and a beautifully illustrated art book. It showcases the many modes in which Pressoir worked: lithography, etchings, linocuts, scratchboard, watercolors, oils, and more.

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Short reviews of the books Exit Wounds by Lewis DeSimone, Bad Seed by Gabriel Carle, The Work of Art: How Something Comes from Nothing by Adam Moss, Rough Trade by Katrina Carrasco, and Where the Forest Meets the River by Shannon Bowring; and of the exhibit American Apollo at the Des Moines Metro Opera Festival and Blank Performing Arts Center in Indianola, IA.

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As captured in its title, Domestic Modernism: Russell Cheney and Mid-Century American Painting, the Ogunquit exhibit’s overarching premise is that Cheney should be considered a Modernist painter, even if he resisted the pull of abstraction that dominated painting at this time, and his subjects tended to be domestically oriented, such as his and Matthiessen’s homes in Maine and Boston.

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Reviews of the books Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film<,em>, Dinner on Monster Island: Essays, A Short History of Trans Misogyny, On Bette Midler: An Opinionated Guide, Imperative to Spare, One Soul We Divided: A Critical Edition of the Diary of Michael Field, and XXX, and the exhibit George Platt Lynes at Work: The Gary Haller Collection

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