Tiff Massey is a young artist whose work ranges from wearable sculpture to large-scale public interventions. She is the first African-American woman to graduate from Cranbrook Academy of Art’s MFA in Metalsmithing. She cites her influences as ranging from 1980s hip-hop culture and her hometown of Detroit to African art and Japanese fashion.
During a ‘question and answer’ session at a recent music convention, four contemporary composers of choral music faced a plethora of musicians from all types of backgrounds and traditions. Amongst a selection of interesting and searching questions asked, one brought an eerie silence to the room. The question was: ‘Would you consider writing for a male choir?’
In our contemporary moment, as our digital spaces are saturated with feeds and streams of images, it’s clearer than ever that photography is a medium poised between arresting singularity and ambiguous plurality. Art historians have conventionally focused on the singularity of the photograph and its instant of capture. But the digital turn has prompted many scholars to reconsider photography in its many serialized incarnations.
To celebrate Earth Day, Katie D. Bennet takes a look at how environmentally conscious libraries from all over the world are using using sustainable architectural methods to achieve their green-goals. The team at the Vancouver Community Library shed some light on the steps they have taken to build an environmentall sustainable library that aligns with the ideals of the community.
Zoe Buckman is a young artist and activist whose work in sculpture, photography, embroidery, and installation explores issues of feminism, mortality, and equality. She was born in London in 1985 and lives and works in Brooklyn, New York. Buckman was a featured artist at Pulse Projects New York 2014 and Miami 2016, and was included in the curated Soundscape Park at Art Basel Miami Beach 2016. Her new public work, Champ, produced in collaboration with the Art Production Fund, is located on the corner of Sunset Boulevard and Sweetzer Avenue in front of The Standard in West Hollywood.
Medieval church designers drew on nature in surprising and innovative ways. Organic forms appear in unexpected places, framing the portals that provide access to sanctified spaces, punctuating interior walls and supports, and hanging from the vaults that soar above the beholder. These foliate sculptures are often characterized as mere ornamentation, devoid of meaning or purpose.
When New York’s Crystal Palace opened in 1853, it quickly became one of the most celebrated landmarks in the city. But five years later, the building was gone—engulfed in flames and reduced to a heap of smoldering debris. The below photographs from The Finest Building in America recapture the sensation and spectacle behind the New York Crystal Palace: a building that mattered so much to antebellum Americans and New Yorkers, yet was never rebuilt.
With every generation comes difficult and contested times that shape history. In the United States, where we are experiencing one of the most divided society in decades, the sentiment feels omnipresent and pervasive. For women and those of nonconforming gender, the issues at stake are even more expansive than the gun laws, environmental concerns, or tax reforms that are on the minds of our citizens.
Narcissister is a Brooklyn based artist whose work includes performance, dance and activism as essential elements. She continues the tradition of second wave feminist artists, such as Adrian Piper, Lorraine O’Grady, Carolee Schneemann, etc., who challenged the status quo in their examination of gender roles, sexuality and equal rights. Narcissister wears a trademark vintage mask in most works, obscuring her identity and provoking the viewer to think of the artist as an “everywoman” rather than about an individual experience.
When an army of Kentish insurgents gathered south of London on 12 June 1381, the firebrand priest John Ball is said to have addressed them with a subversive proverb: “When Adam delved and Eve span, where was then the gentleman?” On the following day, the rebels flooded into London, orchestrating spectacles of political violence. They razed the sumptuous Savoy Palace of John of Gaunt, King Richard II’s despised uncle, and beheaded both the treasurer of England and the archbishop of Canterbury.
Spanish historians and antiquarians in the sixteenth and seventeenth centuries revised the medieval reception of Islamic monuments in the Peninsula as architectural wonders and exotic trophies. They endeavoured to re-appropriate these hybrid architectures by integrating them into a more homogeneous cultural memory focused on Spain’s Roman and Christian past.
The phenomenon of collective art practice in the continental Western Europe of the late 1950s and of the 1960s is rarely discussed. Jacopo Galimberti looks at a comparative perspective, engaging with a cultural history of art deeply concerned with political ideas and geopolitical conflicts in his book Individuals Against Individualism. He focuses on artists and activists, and their attempts to depict and embody forms of egalitarianism opposing the Eastern bloc authoritarianism as much as the Free world’s ethos.
The concepts of altered states and psychedelia creep in to a great deal of visual art. According to Lewis-Williams, some early forms of Palaeolithic rock art may have been shamanic in origin, and represent forms seen during visionary states. 18th Century works such as Fuseli’s The Nightmare (1781) depicted the ‘old hag’ phenomenon, a type of hypnagogic hallucination that is experienced on the threshold of sleep, during which a person feels as though a daemon or other supernatural entity is suffocating them.
An exhibition of paintings by Johannes Vermeer caused a frenzy in Washington DC in 1995. The National Gallery of Art was booked to capacity, and there were lines of hopeful visitors queued around the block, despite sub-zero conditions outside. Vermeer has just returned to Washington, and the gallery staff expects a full house, but have things changed now? Why would you bother to go to a museum to see great art? With the tap of a finger, you can see masterpieces up close on your screen; you can get nearer than any museum attendant would ever allow.
According to the WHO, Streptococcus pneumoniae (also known as pneumococcus) is the fourth most frequent microbial cause of fatal infection. These bacteria commonly colonize the upper respiratory tract and are the most common cause of bacterial pneumonia and meningitis. Although much is known about pneumococcal biology and the diseases it causes, there are still many questions about the molecular biology and cellular processes of the bacterium.
But, on this occasion, it is also thanks to a certain Donald Woods Winnicott—perhaps most of all—that this commemorative moment in history takes place. Winnicott, as President of the British Psychoanalytic Society, was instrumental in raising awareness and funds in the 1960s for getting this same statue by Nemon cast and put up in North London for the first time.