2. Marcia Roberts

    A not widely known contemporary of Robert Irwin, James Turrell and Larry Bell, Marcia Roberts recently returned after a long hiatus with a stunning show of gently modulated, multilayered paintings. Refining her own niche as a Light and Space artist, she presented complex, extraordinarily subtle depictions of muted illumination. Like the best Minimalist works, her paintings possess a painstaking facture and structural rigor that invite slow, contemplative readings.

    - Michael Duncan, Art In America



  5. The term “gentrification” was first coined, somewhat tongue in cheek, by Ruth Glass, a British sociologist who wrote about the phenomenon in the early 1960s. “One by one,” she explained, “many of the working class quarters of London have been invaded by the middle class—upper and lower.” The invaders busily took over modest houses and turned them into “elegant, expensive residences,” while refurbishing larger Victorians that had fallen into disrepair. “Once this process of ‘gentrification’ starts in a district,” said Glass, “it goes on rapidly until all or most of the original working class occupiers are displaced and the whole social character of the district is changed.” In this very first definition of gentrification we find all the salient elements: Members of an upper class invade a lower class neighborhood (note the aggression in the word invade, an act motivated by hostile intent), they purchase and upscale the houses, displace the people, and completely change the neighborhood’s character in a short period of time. 

    Aside from just being bigger, what makes hyper-gentrification different from the old-fashioned kind? Smith posits five characteristics that distinguish third-wave gentrification from its predecessors. (1.) Intensified partnerships between the city government and private capital, “resulting in larger, more expensive, and more symbolic” real-estate developments. (2.) A “new influx of global capital into large megadevelopments,” as well as smaller neighborhood developments like luxury condos on the Lower East Side, in which, for example, Israeli developers are sponsored by European banks. (3.) Authoritarian city politicians and police working to crush anti-gentrification opposition. (4.) Outward diffusion—as prices rise at the city’s center, generalized gentrification spreads out to more distant neighborhoods. (5.) Finally, this third wave is unregulated, free-market gentrification, independent of public financing and therefore unaccountable to larger social needs. It is the first brand of gentrification to enjoy “the full weight of private-market finance.” It’s gentrification that says (in my words), “I can live wherever I want and do whatever I want, because I have the money to do it.”


  6. "And then some like cynical postmodern critic’ll come along and say oh my god look at this show of dog bones - what’d ya suppose it means? These dog bones are just making art the way art should be made I think, without any overarching reference. Just for fun - if you can imagine that. Art for fun, sometimes it is fun!"
  7. Deep South, Sally Mann

    After your works about childhood, you moved on to other subjects. What led you to take pictures of landscapes in the South of the United States?

    I wanted to explore the region’s mystery and complexity. The South has its own unique issues: Why did we behave the way we did in the Civil War? Why did the South depend so heavily on slavery? Why do we have the racial attitudes that we do? Why the sense of honor? Why the warrior spirit? Because many of the family pictures I took used Southern landscapes as the backdrop, it was a very easy shift for me to focus on photographing the South itself. I spent six years on exploring that topic. Deep South is one of my favorite bodies of work.

    You said that you have never left the South to create art, and you consider yourself a Southern artist.

    There is no denying that I have made most of my works in the South. In that respect, I could be regarded as a Southern artist. Southerners are preoccupied with the past, with myth, with family, with death. And, of course, we tend to be a little more romantic.

    Why do you think that is?

    I guess it’s because of the temperature. Also, the light in the South is so different from the North, where you have this crisp and clear light. There is no mystery in that light. Everything is revealed in the Northern light. You have to live in the South to understand the difference. In summer, the quality of the air and light are so layered, complex, and mysterious, especially in the late afternoon. I was able to catch the quality of that light in a lot of the photos.

  8. Rino Stefano Tagliafierro animates master paintings in Beauty

    "Over Beauty, there has always hung the cloud of destiny and all-devouring time.
    Beauty has been invoked, re-figured and described since antiquity as a fleeting moment of happiness and the inexhaustible fullness of life, doomed from the start to a redemptive yet tragic end.
    In this interpretation by Rino Stefano Tagliafierro, this beauty is brought back to the expressive force of gestures that he springs from the immobility of canvas, animating a sentiment lost to the fixedness of masterpieces.”

    - Beauty, Rino Stefano Tagliafierro

  9. ryanpanos:

    The Architecture Lobby

    The Architecture Lobby is a new organization of American architectural workers (architects, designers, administrators) advocating for the value of architectural design and labor.

    We seek to:

    Change attitudes toward architecture by advocating for its value among clients, media, and the general public.

    Change architectural labor by legislating for higher compensation, equitable policies, and professional networks.

    Change architectural practice by fostering alternative approaches to authorship, contracts, and architectural fees.

  10. The word myein is an ancient Greek verb meaning “to close the eyes or mouth.” Linked to the initiation rites enacted in medieval cults, the closing of the eyes or mouth refers to the secret status surrounding their rites. Across time, myein has come to stand for that thing which has not been, or cannot be, explained.

    Hamilton’s interest in the temple form as an idealized image projected onto civic space led her to engage the neo-classical building of the United States pavilion as both subject and object of the project. It was a meditation on aspects of American social history that, like weather, are present and pervasive in effect but which remain invisible or unspoken. Her self-given task was to make a place in which this absence could be palpably felt and to create a space simultaneously empty and full.

    Around the perimeter of the four interior rooms of the pavilion, a chaos of smokefine fuscia powder fell and accumulated over material and aural texts: Selections from Charles Reznikoff’s project: Testimony: The United States, affixed in Braille to the walls, and from the corners, recordings of Abraham Lincoln’s second Inaugural Address spoken in phonetic code. By insinuating inclusion or exclusion the whispering voice of the recordings subverted the public character of the space, and like the powder, was both pervasively present yet out of reach. Spoken in phonetic code wherein each letter is spelled out as name or thing: Alpha for A, Indigo for I , Bravo for B and so on, the text could be deciphered only by notating in writing each coded letter. Originally delivered near the close of the American Civil War, Lincoln’s address extended a healing hand toward that primary schism in American democracy - the institution of slavery.”

    - myein, Ann Hamilton, 1999.