Art and Film: Surviving the Oscars

Contributed by Jonathan Stevenson / Martin Scorsese directed what was probably the best American movie of the year – The Irishman – and it garnered not a single Academy Award despite ten nominations. The film’s Netflix backing and correspondingly enervated theater release annoyed key players in the Academy and appeared to doom its prospects. Despite those exogenous … read more… “Art and Film: Surviving the Oscars”

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Studio visit: Susanna Heller’s endless strength

Contributed by Medrie MacPhee / Before Susanna Heller’s paintings were wrapped and shipped to Toronto for her upcoming solo show at Olga Korper, I brought Sharon Butler by her studio, which straddles the line between Greenpoint and Williamsburg. Susanna and I moved from Haliifax to the East Village after we graduated from the Nova Scotia College of Art … read more… “Studio visit: Susanna Heller’s endless strength”

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On its own terms: “Specific Forms” at Loretta Howard

Contributed by Kim Uchiyama / “Specific Forms” at Loretta Howard Gallery illuminates a particular moment in 20th century art history where works created by a variety of artists occupied the space between the then diverging ideologies of a young Donald Judd and those of the older critic Clement Greenberg. Saul Ostrow has curated a finely-tuned … read more… “On its own terms: “Specific Forms” at Loretta Howard”

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The political power of art

Contributed by Jonathan Stevenson / In a typically penetrating New York Times column earlier this month, David Leonhardt pointed out that one of Franklin Delano Roosevelt’s many insights was the need to showcase as well as merely extend government largesse in order to impress upon its beneficiaries the ongoing value of the federal government’s involvement in their … read more… “The political power of art”

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Essex Flowers: Waiting to be activated

It saved me once too often,You’d never know how often.I’ve pictured you in coffins:My baby in a coffin.But I love it when you blink your eyes. — Distortions, by Clinic Contributed by Zach Seeger / How do we know we’re still alive? Reverse Marie Kondo: the accumulation of our stuff; at least this was how … read more… “Essex Flowers: Waiting to be activated”

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On a Cartoon Graveyard

Contributed by Julian Kreimer/ At 3:10 pm on a blustery Thursday afternoon, the falling sun refracted off the 3rd floor windows of PS 42, the Benjamin Altman Elementary School, named for the department store magnate, a first-generation son of Bavarian Jews who rose from running a small Lower East Side dry-goods store to opening one of … read more… “On a Cartoon Graveyard”

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Steve Hicks: Sparring shape and line

Contributed by Carol Diamond / Steve Hicks’s oil and acrylic canvases exude confidence and exuberance, like a teenager sporting a new outfit and venturing out to face the world. I’ve got this, the paintings seem to say. Hicks’s shapes and lines, his layers and hues, impart a robust, jaunty sense of speed and physicality. For all … read more… “Steve Hicks: Sparring shape and line”

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Art and Film: 2019 Top Ten

Contributed by Jonathan Stevenson / It’s been a fine year for movies, their demise due to streaming having been greatly exaggerated notwithstanding awkward episodes like the theatrical release of Netflix-backed The Irishman. Here is my inexorably subjective and eminently debatable list of the Top Ten dramatic films of 2019. The Irishman. Still the king of the … read more… “Art and Film: 2019 Top Ten”

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Richard Tuttle sees the light

Contributed by Sharon Butler / Richard Tuttle, who has lived in New Mexico since the late 1980s, recently got an expansive new studio on Mount Desert Island in Maine. Exchanging mesa views for a perch on the ocean, at the very edge of a country on the verge of a nervous breakdown, places him physically … read more… “Richard Tuttle sees the light”

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Allison Schulnik’s glamour magic and illusion

Contributed by Kari Adelaide Razdow / Moths are weird and macabre. Allison Schulnik, in her animated short MOTH in “Suffering From Realness” at Mass MoCA, fully captures their gothic elegance. The moths rhythmically fan eyespots and morph into something new and magical every few seconds, conjuring a resonant line from Mary Oliver’s poem, Sleeping in the Forest: “By morning I had vanished at … read more… “Allison Schulnik’s glamour magic and illusion”

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