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Close-up of one of Emery Blagdon’s hanging sculptures (2012), wire, found bottles, wire, metallic foil, paint, shells, dimensions variable (photograph by Kelly Rush) Yesterday evening’s nationwide PBS broadcast of Kelly Rush’s new documentary short, Emery Blagdon & His Healing Machine, served as a reminder of just what it is that distinguishes the lives and careers of the most exemplary outsider artists.
Peter Acheson, “Table” (c.2003-ongoing), mixed media, dimensions variable (all photographs by the author for Hyperallergic) I first encountered Peter Acheson’s table sculpture several years ago.
Cover of “Not Nothing: Selected Writings By Ray Johnson, 1954-1995″ (2014), Sigilo Press (all images courtesy Sigilo Press) Not Nothing: Selected Writings By Ray Johnson, 1954-1995, recently released by Siglio Press, is edited by poet and translator Elizabeth Zuba, with an essay by poet and novelist Kevin Killian.
A view of Khaled Jarrar’s “No Exist” (2014) at Whitebox Art Center (all photos by the author for Hyperallergic) Last night’s opening of Khaled Jarrar’s two-part exhibition No Exit at Whitebox Art Center and the related 10 Days, 10 Ideas workshops at Undercurrent Projects was a window into the art world realities facing Palestinian artists in the midst of the escalating violence in Gaza, the West Bank, and Israel.
Pamela Littky, “Burned Out Truck, Baker, California,” from “Vacancy” (all photographs courtesy the artist and Kehrer) Two rural communities have ominously declared themselves the “Gateway to Death Valley” — Baker, California and Beatty, Nevada — each isolated as the last stop before miles of harsh landscape.
The usage fashion between “contemporary” and “modern” crossed over somewhere in the mid-aughts, though the shifting meaning of “modern” makes a precise diagnosis difficult.
A view of the Palisades from Wave Hill, a city-owned cultural organization (image via elephipelephi/Flickr) New York City may lean on its cultural institutions to encourage adoption of a planned municipal identity card for undocumented New Yorkers, the New York Times reported.
Still from Gustav Deutsch’s ‘Shirley: Visions of Reality’ (photo by Jerzy Palacz, © kgp) A known face at film archives around the world, Austrian filmmaker and architect Gustav Deutsch is one of found footage’s most astute and assiduous artists.
The nude male photograph in the front window of a Manhattan gallery (all photos by the author for Hyperallergic) A photograph of a nude male in a downtown Manhattan gallery’s front window has drawn protests from neighborhood parents and schoolteachers requesting its removal.
A chalk version of Vermeer’s “Girl with the Pearl Earring” in Paris. It was announced this week that the painting is no longer allowed to leave the Hague.
Megumi Igarashi (screenshot via YouTube) In honor of Japanese artist Megumi Igarashi, aka Rokudenashi-ko (“Good-for-nothing girl”), Jon Stewart premiered a new segment on The Daily Show last night: “We May Have Problems, But at Least We’re Not Jailing Artists for 3D Printing Their Vaginas.” For those who haven’t heard, Japanese authorities arrested Igarashi two weeks ago for distributing electronic data that the recipients could use to 3D print models of her vagina; the data was a reward for backers of her vagina-shaped kayak, which she crowdfunded online last fall. In his brief segment, Stewart hits on the hypocrisy and sexism of contemporary Japanese culture, wherein popular TV shows feature women in degrading scenarios but an artist using technology to replicate her own vagina violates obscenity laws.
Minor White, “Untitled (composite print)” (1973). Gelatin silver print. Reproduced with permission of the Minor White Archive, Princeton University Art Museum.
Thomas Mailaender: The Night Climbers of Cambridge (all images courtesy Archive Press) Back in the 1930s, a group of amateur climbers scaled the centuries-old Gothic stonework and shaky water pipes to reach the spires of the Cambridge colleges.
Installation view of Eduardo Sarabia’s solo exhibition in Guadalajara, Mexico (all images courtesy of the artist) Fifteen years ago, the Mexican-American artist Eduardo Sarabia traveled from his home in California to Guadalajara, the Mexican city where the most powerful drug traffickers’ families are rumored to reside.
Adrain Chesser, “sage field,” Lone Pine Ridge, Idaho, from ‘The Return’ (all photographs courtesy the artist and Daylight Books unless otherwise noted) There is a loose tribe living at nature’s margins in the United States, slaughtering goats raised by hand at Idaho’s Lost River and picking cherries growing wild in California’s Marble Mountain Wilderness.
An exterior panorama of the Metropolitan Museum of Art (image via Michael Gray/Flickr) A seven-day schedule implemented last year at the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art brought a 7% increase in attendance at the former but no change at the latter, Crain’s New York reported.
Scattered fragments of rare 12th-century illuminated Tibetan texts from Keu Lhakang Temple, Central Tibet, before being digitised, restored and re-ordered.
“A Fete Worse Than Death 2014,” London (photo by the author for Hyperallergic) This age needs a brave and fun “Hero of modern art” such as Apollinaire.
The Metropolitan Opera at Lincoln Center (image via Allison Meier/Flickr) The Metropolitan Opera is anticipating a significant labor lockout beginning August 1, the Wall Street Journal reported. “The Met cannot continue on its current economic path; we must find cost reductions,” director Peter Gelb wrote in a letter to union staff Wednesday.
Kazimir Malevich, “Self Portrait” (1908–1910) (all images courtesy Tate) LONDON — The Tate Modern’s Malevich: Revolutionary of Russian Art exhibition explores the career of Kazimir Malevich, presenting a complete image of the painter, sculptor, teacher, and revolutionary member of the early Soviet avant-garde, whose trajectory as an innovative artist mirrored the tumultuous decades surrounding the Soviet revolution.