Cory Arcangel - Paganini’s 5th Caprice (by coryarcangel)
Shonibare discusses his own disability.
It’s been a crazy week to be living in the Boston area and due to the recent events, the Double Scribble In The Paint art show has been rescheduled to this Friday, April 26th.
I was fortunate enough to catch a glimpse of it this weekend, as well as meeting up with the organizers: Nick of Double Scribble, Ananth and Crystal, and the folks at Voltage Coffee.
Show your love for art and basketball, as well as the city of Boston, and reserve your tickets here: http://www.inthepaintbos.eventbrite.com/
From the event page:
Everything that was planned for last Friday will happen again.
Door donation and raffle proceeds to Shooting Touch, and both Grillos and Downeast Cider will be there with pickles and hard cider galore.
So let’s experience great art (including Aaron Dana’s fantastic mural), eat/drink, and come together In the Paint.
*Note: tickets have sold out but register anyways to get on the list. If not, the artwork will still be up until May 18th.
**Sidenote: If you want to support another fine Cambridge establishment, all hoops fans are invited to “NBA Nerd Night” every Wednesdays at Parlor Sports in Inman Square for all things basketball nerdery.
(more info: Double Scribble, In The Paint, Voltage Coffee)
Hey this is happening this Friday in Kendall Square in Cambridge, MA.
Robert Mangold, 1/3 Gray-Green Curved Area, 1966
From the Guggenheim:
Robert Mangold’s Curved Areas (1966–67) reflect a loose connection to the empirical world, as in his previous series inspired by the rooftops of Manhattan,Walls and Areas of the mid-1960s. In the summer of 1965, Mangold painted sketches of the negative space between mountains in upstate New York. With the aid of a compass, the artist translated these outlines into regular geometric forms. He prohibited any association with the landscape by selecting neutral colors drawn from factory-made sources, such as brown paper bags and office supplies, and applied them in single, even matte layer. By dividing the painting vertically into separate panels, Mangold further counteracts the illusion of depth and calls attention to the work’s physical support. For all their distinctness as self-contained objects, however, these paintings invite the viewer to mentally extend the curves on either side and resolve them into a one continuous circle.
