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If Flannery O’Connor somehow birthed the love child of Sid Vicious, she might end up sounding like novelist Nell Zink. Equal parts Southern Gothic’s grotesquely twisted charm and punk and alternative music’s insiderish anti-establishmentism, Zink’s second novel Mislaid will disorient you until you let it delight you. Zink’s mix — which I’ll call Southern Gothic Punk — might be an acquired taste, but a taste well worth experiencing if only to break out of the contemporary rut of MFA-programed, sound-alike fiction that’s become the bubblegum pop of today’s literature.
With the May 1st grand opening to the public of its new building in Manhattan’s Meatpacking District, the Whitney Museum launches a new era not only in the New York City art scene, but also, possibly, in the very world of museums. Thanks to a Renzo Piano-designed new building built, as Whitney Director Adam D. Weinberg put it, “from the inside out” to serve the interests of the art and the patrons first, the new Whitney and its classic collection of American art stretching back to 1900 has drawn excited raves and exasperated rants from critics. Their inaugural exhibition, America Is Hard to See, gathers together long-loved classic works with rarely seen newcomers to create a paradox of old and new to mirror the many paradoxes of the American history the art embodies and critiques by turns. This shock of the new (and old) is the must-see art event of the year.
When the Philadelphia Museum of Art purchased Henry Ossawa Tanner’s painting The Annunciation in 1899, they became the first American museum to acquire a work by an African-American artist. That purchase announced a new era of recognition of African-American art and artists just as much as the painting itself announced a new style of art moving away from stereotypical “black” scenes towards a freedom of aesthetic choice. Persons of color could express themselves in any way, even abstraction, but faced the new problem of remaining true to themselves at the same time. The new exhibition Represent: 200 Years of African American Art and accompanying catalogue show how these artists faced the challenges posed to them by art and society and provide all of us with a fascinating guide to facing African-American history—tragic, tenacious, transcendent—through its art.
Whereas European countries were once able to tap into their history for subjects for opera, America’s never succeeded in doing the same. That problem comes in part from the decline in opera as a popular, public art form, but also perhaps from the lack of operatically epic subjects to be found in American history. Now, composer David T. Little hopes to create a modern American opera with JFK, a 2-act, 2-hour opera focusing on the life of President John F. Kennedy, whose life and death became defining moments not only for the Baby Boom generation, but also, many would suggest, the hinge upon which all American history turns for the last half century. Set to premier in 2016, JFK as a work-in-progress already raises important questions about how opera (and art in general) can approach history.
"The extasy [sic] of abstract beauty," artist Richard Pousette-Dart scrawled in 1981 in a notebook on a page across from a Georges Braque-looking abstract pencil drawing. Although included in Nina Leen’s iconic 1951 Life magazine photo "The Irascibles" that featured Abstract Expressionist heavyweights Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman, Pousette-Dart has always stood on the edges, as he does in the photo, of full identification with that group.
The flood of images of violence and unrest continues to flow from Ferguson, Missouri, in the wake of the shooting death of Michael Brown on August 9, 2014. (See one […]
America is much like the Hotel California: “You can check out anytime you like, but you can never leave.”