“The Horror Show of Science” (1981), a stark mural-size canvas, uses diagram-like images to show what science and technology have wrought, such as the atomic bomb and animal testing. Like these artists, his aesthetic world is simultaneously seductive and menacing. Van Dalen’s style is mechanically surrealistic, recalling early-20th-century artists like Giorgio de Chirico and Francis Picabia, as well as ’80s peers like Keith Haring and Mark Kostabi. PPOW Gallery, 390 Broadway, Manhattan 21,. As I took in the museum-ready show, I wondered: Is power a feeling? JOHN VINCLER Also included are two sculptures, or “inaction figures,” with accompanying poster advertisements. In the photographs, we see the artist multiplied in various states of undress emerging from a dark background. Despite the titles’ phrasing, the persona that emerges seems closer to ancient myth than to comic books. The phrases - including “powers still unclear,” “under constant threat but also threatening” - reveal the artist herself, as the title character or alter ego, in the role of Obsidian. Two paired photographs, “The Making of a Superhero” and “The Making of a Supervillain” (both 2022), feature text, roughly hand-engraved onto the plexiglass face of their frames, like diamond-cut graffiti on a subway train window. Beginning a cappella in a mode of spirituals, blues and children’s double Dutch or clap-game rhyming songs, the soundtrack shifts into a mash-up of styles from Nina Simone, Radiohead and Meredith Monk via a looping sung refrain. The lush soundtrack of the lone video work, “Obsidian Theme” (2023), floods the space and sets the mood. The feelings in this Brooklyn-based artist’s show “Obsidian” may be raw, but each artwork - across photographs, sculptures and video - is refined, recalling the lustrous black volcanic glass created by a destructive force that gives the exhibition its name. Shala Miller has created a room full of deep affect: Anger and melancholy are coupled with an insistence on beauty that reads as determination and cleareyed hope. Lyles & King, 19 Henry Street, Manhattan 64,. What this exhibition makes most clear is that drawing itself - however you define it - is still as vital as it was when Neolithic artists inscribed images and motifs on rock face. Morphing between dimensions is also different in the era of 3-D printing and computer graphics. Of course drawing has changed, in the same way that we now write on laptops or tell time on phones. Some works here are sketches, studies or technical diagrams for fabricating objects some are provocations or impossible propositions, too fantastical to build. Several works bend the category of drawing, like Michelle Segre’s “Flaunt” (2022), probably best described as a drawing in space that includes yarn and bread balls Richard Artschwager’s “Liebespaar (Lovers)” from 1998-99, made with rubberized horsehair or Wells Chandler’s crocheted “Self Portrait as Turtle in Vest” (2023). Cool and camp attitude reign in Ken Price’s “High Country Meth Labs” (2015) and Danh Vo’s adjacent “” (2009), while the threesome of Huma Bhabha, Marguerite Humeau and Josh Kline suggests art transcending traditional “nature” as a modeling form, reaching toward the posthuman. Kiki Smith’s “Transmission” (2016) sits next to Alan Saret’s “Swan” (2022), both suggesting energy and movement. Moderated by senior New York Times journalists, the world-class AfT program will bring together practitioners, experts and activists to explore the social impact of the arts. In addition, attendees will have an experiential program of Florence’s eclectic artistic landscape, venturing into the city’s museums, galleries, performance spaces and artist studios to see the arts in action.If nothing else, the show is a thrilling matchup of artists from different eras and ethoses. The 2023 edition will use the stunning backdrop of Florence and Solomeo to explore the link between beauty and creativity, questions about cultural heritage, and art’s unique capacity to elicit change. Art for Tomorrow looks at this interplay between the arts and society, examining culture’s social and economic impact. It moves, challenges and inspires us, and can force us to rethink our assumptions. In an era where our society, and democracy, are buffeted by war, disinformation, gaping inequalities and the climate catastrophe, the world needs creative ideas.Ĭulture feeds us in a way that facts can’t.
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