Femmes attablées (Women at table), 1947. Gouache on board, 19 1⁄2 x 25 7⁄16 in. (49.5 x 64.6 cm). Collection of Adrien Maeght, Saint-Paul-de-Vence, France
How is it possible that we’re just learning of this autodidactic painter who inspired two of the 20th Century’s greatest painters now? If you’re lucky enough to be in New York through the end of March, get yourself to the NYU Grey Art Gallery and bask in color, especially during the current snowy days!
Baya: Woman of Algiers is the first North American exhibition of works by the self-taught Algerian artist Baya Mahieddine (1931–1998). Known as Baya, she was born in Bordj el-Kiffan and orphaned at age five. Encouraged by her adoptive French mother to pursue art, she began as an adolescent to paint gouaches and make ceramics. Her work was soon discovered by fabled gallerist Aimé Maeght who, along with André Breton, organized an exhibition in Paris in 1947. Baya’s colorful depictions of women, rhythmic patterns, and bright palette drew the attention of Henri Matisse and Pablo Picasso, with whom she later collaborated in the renowned Madoura pottery studio in Vallauris. Celebrated in both Algeria and France, Baya has yet to gain international recognition. Woman of Algiersreexamines Baya’s career within contemporary, Surrealist, “outsider,” and Maghreb post-colonial art contexts. The exhibition features works drawn from the Maeght Family Collection, Paris, as well as several Madoura ceramics by Picasso and a video by London-based French-Algerian artist Zineb Sedira. Baya is curated by Natasha Boas and will be accompanied by an illustrated catalogue with essays by Boas, André Breton, Assia Djebar, and Menna Ekram.
Gordon Matta-Clark’s “Day’s End” (Pier 52), 1975. Photograph Courtesy the Estate of Gordon Matta-Clark / ARS / David Zwirner
Renaissance is a word that sounds like it means something good. But not necessarily so. Sarah Cowan has this review of a show in the Bronx that sounds worthy of a visit:
Gordon Matta-Clark (pictured left, in 1975) folded urban decay into his art. Move ahead forty years and the city’s debris is from new development. Photograph by Harry Gruyaert. Courtesy the Estate of Gordon Matta-Clark / ARS / David Zwirner
In the film “Day’s End,” the artist Gordon Matta-Clark rides a whale-size piece of corrugated metal as it is hoisted away from the wall from which he just cut it. He’s a young man, age thirty-two. The feat was filmed in the summer of 1975, in Chelsea’s abandoned Pier 52 building, where Matta-Clark attempted to make an “indoor park.” His silhouette, against the sunlight streaming in from his new view of the Hudson River, is heroic. Continue reading
Pieces such as leaves, bushes and trees will be made entirely from plant-based plastic. Photograph: Maria Tuxen Hedegaard/Lego
Among contributors to this platform, the number of lego pieces bought over the last fifty years likely aggregates into the hundreds of thousands. And yes, we all eventually knew that the product is petroleum-based and therefore worthy of reconsideration in for the next generation. But they have remained irresistible anyhow, and so we are glad to hear the company is moving in a new direction. Rebecca Smithers, the Consumer affairs correspondent for the Guardian, offers this news on where the company is going with green:
The author does not frequently show up in these pages. But when she does, it is worth noting because she says things that matter, and that gets us thinking. In the case of this book she is stating the obvious, that there is no time to spare. But sometimes it is good that someone of her stature states it anyway. Thanks to National Public Radio (USA) for this review:
Ursula K. Le Guin’s mastery of fiction has remained so consistent throughout her decades-long career, it’s easy to overlook her accomplishments in other forms. Sure, she’s the author of iconic, award-winning science fiction novels such as 1969’s The Left Hand of Darkness and 1971’s The Lathe of Heaven, not to mention the beloved fantasy series The Earthsea Cycle, which began in 1968. But those distinct works share Le Guin’s firm grasp of poetic language, science, and history. Accordingly, she’s a brilliant poet, albeit a less recognized one. Even further down on her résumé are her wins as a nonfiction writer. Her 2016 collection of essays and reviews, Words Are My Matter, won the Hugo Award for Best Related Work in 2017, despite the fact that the book did not focus exclusively on science fiction — nor do her other nonfiction collections, including The Wave in the Mind from 2004 and now, No Time to Spare, a new book that assembles some of her most cogent ruminations on everything from gender politics to anthropology to, yes, science fiction and fantasy. Continue reading
Charles-Donatien paints and lacquers goose feathers in his studio. Photograph by Pari Dukovic for The New Yorker
The Style issue of the New Yorker is the least interesting of the year, from the perspective of these pages; and yet on occasion even in this one they deliver something we can mull over:
We’ve been dressing up as birds since the Stone Age. Eric Charles-Donatien has brought the craft of featherwork into the twenty-first century.
Not surprisingly Burkhard Bilger is the journalist who pulls this off. Our Bird Of The Day (365 times for seven years running) feature exposes us to feathers of such variety that we could not resist giving Mr. Bilger the benefit of the doubt on this one:
There is such a thing as too much beauty. So the stuffed bird on the counter seemed to be saying. It was a Himalayan monal, Lophophorus impejanus, Liberace of land fowl. Its head was emerald, its neck amber and gold, its back a phosphorescent violet that flared to a sunburst at the tail. A pouf of feathers jutted from its head like a tiny bouquet. Named for Lady Mary Impey, the wife of the Chief Justice of Bengal in the late seventeen-hundreds, it had a stout, ungainly body swaddled in bright plumes as if for an audience with the maharaja. It was a turkey that wanted to be a hummingbird. Continue reading
Ori Gersht’s Off Balance, 2006. Photograph: Ori Gersht/Aperture.org
I highly recommend this combination of retro covers from classic food and homemaking publications, stylized food presentations and deconstructed recipe imagery. Guaranteed to make you smile. (Check below the jump for more of my personal favorites.)
In this taster from her new book Feast for the Eyes, curator and writer Susan Bright brings into focus the rich history of food in pictures. From Man Ray to Cindy Sherman and Martin Parr, it is an artful exploration of how the edible vastly exceeds the simple things we put on our plates.
A series by Mr. Guariglia depicting the impacts of agriculture and mining on the Asian continent. The shimmering panels are layered with gold and other precious-metal leaf, gesso and acrylic ink. Below right is botryoidal slab of malachite from a mine in Africa. Credit Nathan Bajar for The New York Times
Tapping into a long, intertwined history of “photographers depicting nature with an eye to its fragility”, multimedia artist Justin Brice Guariglia translates his unprecedented access to NASA mission flights to visually quantify what is currently coined the Anthropocene Era.
Readers lucky enough to have the opportunity to view his coming exhibition, at the Norton Museum of Art in West Palm Beach, Fla., from Sept. 5 to Jan. 7 should do so!
Earlier this year at the Telluride Mountainfilm Festival, the artist Justin Brice Guariglia fell into conversation with a stranger.
“I got stuck on a gondola ride with a climate change denier,” Mr. Guariglia said recently. The stranger clearly had no idea who he was dealing with.
Not only had Mr. Guariglia previously talked his way into joining a NASA scientific mission over Greenland so that he could photograph melting polar ice caps. He also had even created a mobile app called After Ice, which allows users to take a selfie that is overlaid with a watery filter indicating the sea level projected in their geo-tagged location in the 2080s.
So when the man on the gondola said the earth’s warming temperatures were just part of a cycle, Mr. Guariglia recalled, “I took off my jacket and I said, ‘Does this look like a cycle to you?’” Continue reading
Image © 2016 CHOI+SHINE
I’ve long been fascinated with urban space art installations in general, and fibre based pieces in particular. Somehow I missed hearing about the Singapore based i Light Marina Bay Light Art Festival in March, but I’m happy to have discovered it now.
The festival is an annual event, and this year’s theme of Biomimicry and Sustainability strike multiple chords. London/Seoul based architectural firm Choi+Shine created The Urchins for this site specific installation.
This project is inspired by sea urchin shells, which are enclosed yet light weight, delicate and open. Their textured and permeable surface interacting with light creates openness, while the pattern’s mathematical repetition brings visual rhythm and harmony. Against light, the sea urchin natural form reveals one of the most spectacular patterns found in nature. Continue reading
Today and tomorrow we are finalizing preparation for receiving a nearly full house of archeologists, who will be at Chan Chich Lodge for the next couple months. I came across the photo above at the same time I was looking at the to-do list related to their arrival, and am remembering that in May 2016 I was struck by the quality of night sky at Chan Chich for stargazing.
So this is a shout out to all those people who are intrigued by Mayan archeology, are stargazers, and have not yet made vacation plans for the next couple months. We have a few rooms available, so come on over! The photo above is paid content from Intel, and while usually we avoid passing along commercials, this is on a topic we care about. It is worthy of a read. Also, after the text the Skyglow short on Vimeo is worth a look:
Timelapse photographers zigzagged 150,000 miles across the U.S. to capture the wonders of the dark skies and raise awareness about the growing threat of light pollution.
Their family and friends think they’re crazy for devoting so many nights to create Skyglow, a book and video born from Gavin Heffernan and Harun Mehmedinovic’s passion for nature and photography. Just how Carl Sagan and Stephen Hawking brought deeper understanding of the cosmos, Heffernan and Mehmedinovic are raising awareness about the damage caused by ever increasing light pollution. Their magical timelapse photography just might do the trick. Continue reading
Works that can be seen in “CHIHULY,” Dale Chilhuly’s exhibition at the New York Botanical Garden. Credit Photographs by Vincent Tullo for The New York Times
Although fairly ubiquitous in Botanical Gardens and museum rotundas, Dale Chihuly’s colorful and primarily organically shaped glass installations add an intriguing juxtaposition with the spaces they inhabit. Despite his popularity, opinion varies whether his work enhances or detracts. Whichever camp you choose, there’s a fertile ground for conversation.
The single-word, all-caps title — “CHIHULY” — of a new show at the New York Botanical Garden conveys immediately exactly what visitors will be getting: vibrant glass sculptures in a familiar style, one that often recalls nature, and sometimes competes with it.
He started by weaving glass into tapestries but, eventually, the weaving part, once his primary technique, fell away.
“There is something about glass, one of the few materials that light goes through,” Mr. Chihuly said. “You’re looking at light itself.”
The shapes that Mr. Chihuly has spread to institutions worldwide remind many people of organic forms. But he has always maintained that copying nature has never been his goal. “I’m not conscious of mimicking,” he said. “I don’t study plant books. Glass wants to make forms like that, if you let it.” Continue reading
Elephants, many of whom have suffered serious abuse in the past, photographed wearing the knitted multi-coloured, pyjama-like garments knitted by local villagers Roger Allen
While the concept of yarn bombing (also called guerrilla knitting) is usually a playful way to bring color to an urban setting, this isn’t our first story about altruist knitting in the realm of animal protection.
This story seems particularly poignant considering it weaves together the matriarchal nature of elephants and the communal work of the village women…
Elephants in India are sporting colourful woollen jumpers after villagers knitted the super-size garments to protect the animals from near-freezing temperatures.
Women in a village near the Wildlife SOS Elephant Conservation and Care Centre in the northern city of Mathura reportedly began producing the colourful, pyjama-like garments after staff at the centre warned temperatures were approaching sub-zero at night. Continue reading
We link so often to contents of this magazine, occasionally for in-depth profiles and often for items posted only on their website; but their covers tend to be particularly poignant visual cues. Those of us who post here think of and refer to our WordPress platform as our cabinet of curiosities so this week’s cover captures our attention more than most:
“I drew a bookshelf, and the lines made me think of the streets of a map,” Luci Gutiérrez says, about her cover for this week’s issue. Another inspiration for her image: Wunderkammern, the cabinets of curiosities created in the Renaissance to display collections of extraordinary objects. “I don’t have this particular piece of furniture, but I wish I did. I keep strange and pretty objects,” Gutiérrez says. “It can be a chocolate paper wrapper or a Japanese mask. . . . they provide me with a way to remember the place they come from.”
Braun Hughes, a cook, center, stokes a fire while another cook, Andy Risner, keeps watch. Drew Anthony Smith for The New York Times
Last week at Chan Chich Lodge we had guests from Vermont who were on their 6th visit, the first having been back in 1998. This couple started at dawn each day and while primarily birding they witnessed plenty of the other wildlife. Each sunset they enjoyed a classic dry martini with olives, and some conversation with Migde (yes, that is the spelling, pronounced mig-day) the bartender.
By the end of the week watching their sunset ritual, I had the image of a martini we might create in their honor. Instead of their favored olives we would put a few small cubes of chilled Harrington’s of Vermont smoked ham. Perhaps just to humor me, they said they would like to try that during their next visit. In the last few days I have been looking into the matter and I can find no evidence that this is a good idea.
I can also find no evidence that it is a bad idea. So I am continuing the investigation. And today I am happy to see a review related to another form of smoked meat, quite different from that of Harrington’s, in this case at a restaurant in Texas. Pete Wells now holds my attention better than any reviewer, on any topic. Anthony Lane, for a long time, held it on the residual strength of the laughter produced by one film review in 2005; his predecessor Pauline Kael also held it a long time before that. In the era of crowd-sourced reviews, the professional is still relevant for a reason. Today’s restaurant review is a case in point:
AUSTIN, Tex. — “How much brisket are you having?” Continue reading
Timbers specializes in offbeat revisionist fantasies about historical figures.Photograph by Pari Dukovic for The New Yorker
Our goal, linking out to stories like this, is not to politicize this platform; it is to showcase creative problem-solving, akin to our fascination with and commitment to entrepreneurial conservation. That is what we mean by model mad. We are wary, and weary of the name of the polarizing figure, but resolutely curious to read about how others are dealing with it. Even with a title like A PROTEST MUSICAL FOR THE TRUMP ERA we know it will deliver on the creative side rather than the political. Thanks to Rebecca Mead for a well-focused message:
Five actors gathered in a room on Lafayette Street, in downtown Manhattan, to start rehearsing a new work for the Public Theatre, “Joan of Arc: Into the Fire.” Written by David Byrne, formerly of the Talking Heads, the show recast the enduring, improbable story of Joan—a teen-age girl in medieval France who experienced divine visions, led an army to defeat an occupying power, and was burned at the stake for heresy—as a rock musical that spoke to the current political moment. Continue reading
Sullivan Doh, owner-mixologist at Le Syndicat in Paris.Credit Charissa Fay
We are pleased to read of Mr. Field, in some ways doing in Paris what we have just noted happening with cacao in the Caribbean–a kind of renaissance of beverages that is also on our agenda in Belize:
In her new book, “The New Paris: The People, Places & Ideas Fueling a Movement” ($30, amazon.com), the writer (and T contributor) Lindsey Tramuta documents the creative and cultural shift she has witnessed in the city in recent years. Below is a passage on the rise of craft cocktails there.
To say that cocktails are a new phenomenon in Paris is to overlook a culture of distilling liquors dating back to the 1800s, one that gained greater traction more than one hundred years later during American prohibition, when newly unemployed bartenders came to Europe in droves and landed in some of the continent’s best hotel bars. Continue reading
Blackberry Cooler, Orchid Thief and Mumbai Mule.Credit Gentl and Hyers for The New York Times. Food stylist: Maggie Ruggiero. Prop stylist: Rebecca Bartoshesky.
We have never before seen an article by this author that would be considered relevant to the themes we write about, link to, and find worthy of promotion; normally she writes about “drinks,” drinking culture, bar stuff. But here she touches on a theme we have spoken of often among ourselves in our day to day work (but would not likely have ever written about here): that ridiculous word “mocktail” — the word police should come and take it away, lock it up and throw away the key.
On the other hand, we have been watching and tasting in amazement as our beverage teams in India, Costa Rica, Belize and Baja all come up with ever-more inventive ways to enjoy liquids that do not intoxicate. Our biggest challenge, after they do the heavy lifting on the chemistry side of the equation is finding words worthy of a name, and worthy of a category that means non-alcoholic. So, hats off to Rosie on this one:
I’m always thrilled when a certain former drinking buddy comes to see me at the bar. He stopped drinking alcohol years ago, but he’s as fun to be around as he was when we sat side by side at a corner bar in TriBeCa many nights in the ’90s — probably more so. Continue reading
German artist Diane Scherer creates low-relief sculptures made from plant roots. DIANA SCHERER
Thanks to Wired for this bit of intrigue:
by MARGARET RHODES
THE HUMAN RACE has a long history of bending nature to its will. The results of this relationship can be devastating—but they can also be strikingly beautiful, as German artist Diane Scherer skillfully proves with her low-relief sculptures made from plant roots.
Scherer grows these works of art by planting oat and wheat seeds in soil, and then carefully, meticulously, warping the growth pattern. DIANA SCHERER
Scherer grows these works of art by planting oat and wheat seeds in soil, and then carefully, meticulously, warping the growth pattern. She prefers to train her roots into geometric patterns found in nature, like honeycomb structures, or foliate designs reminiscent of Middle Eastern arabesques. Continue reading
Flexn artists, photo by Sodium for MIF 2015
We had not heard of Flexn until this week, when they were mentioned in a podcast with the phenomenal Peter Sellars (alluded to once previously in these pages, and linked to another time directly). Now we want to know more. And it looks like one way to learn more will happen at The Shed. Back in August, when we first heard about The Shed, it was a quick glance at the future. Now we have more detail, thanks to this early release of a profile in next week’s New Yorker:
How will the director of New York’s ambitious experimental cultural center change the city?
By Calvin Tomkins
Every so often, it seems, visual artists are stricken by the urge to perform. The “happenings” movement in the nineteen-sixties—young painters and sculptors doing nonverbal theatre—was explained as a response to Pollock, de Kooning, and other gestural Abstract Expressionists: it was the gesture without the painting. Continue reading