Inspired by a 1966 tragedy in which coal waste trickled down a mountain in a Welsh mining town, engulfing a nearby school and killing 144, Elena Willis’s Aberfan 1966 seems an exercise in surrealist photographic technique.
One has to figure that photographer and conceptual artist Barbara Bloom, whose collection-themed survey opens today at the International Center of Photography, has a basement full of stamps, coins, and collectible spoons.
Recalling Dinosaurs (TGIF circa 1991), Salvadorian draftsman Oscar de las Flores's Preludio Paleontologico pictures a dino-man with Michelangelo-esque bulk, seated next to his boob-tube-loving dino-lady.
The paintings and illustrations of Portland-based, early-nineties 'zine-ster Bwana Spoons look like something out of an indie children's book — the kind embraced by the spawn of Brooklyn-based aesthete parents.
In what may be the most frightening faux-bunker of all time, Atlanta-born artist Travis Somerville riffs on past southern trends (Confederate flags!), icons (KKK babies!), oddities (blackface Kennedy!), and, well, blaring bigoted missteps.
Nope, not a shoddy photograph. The above work, D.C.-based artist Molly Springfield's A Translation, is a meticulously rendered drawing based on a photocopy of pages from Lucy Lippard's 1973 text, Six Years: The Dematerialization of the Art Object From 1966 to 1972.
Israeli illustrator Koren Shadmi's macabre take on Alfred Eisenstaedt's famed shot of an overeager sailor's post-WWII celebratory smooch, Tasting Victory, is a not-so-subtle glimpse into the artist's own feelings on the war.
This year, MoMA, and just about everyone else in this city, commemorated the 100-year anniversary of the completion of Picasso’s masterpiece, Les Demoiselles d’Avignon. 2008 is rapidly approaching, but the celebration isn’t over just yet.
We're not entirely sure how Micahel Bevilacqua's How to Disappear Completely fits into the Chelsea Art Museum's postmodern-themed group show "The Incomplete," but we thought it might be a nice complement to Daily Intel's office-holiday-party coverage.
Exit Art's "Love/War/Sex" exhibition, up at the gallery through January 26, paints quite the chilling wartime image/S&M fantasy complete with real-life weaponry, netting, video works, and submissive statues.