Spring has been late in coming as freezing temperatures sweep through Europe.
Other incidentals include France’s Le Pen dynasty going through a rebranding from their current name, National Front. Indeed, wherefore ’tis but the name that is ignoble – a “détail de l’histoire.” O, be some other name!
Trump has a momentary lapse into clarity with regard to sensible gun laws, but then is quickly coddled back into his old self after meeting with the NRA – an organization that has managed to mechanize its terror and bump-stocked it for faster delivery. A testament of American democracy in action, in case anyone was having any doubts.
General elections are to be held today in Italy. We will find out just how far mistrust and dissatisfaction can lead a people to disappointment.
And just to bring it back to the art world, in the grand French tradition, Paris is still debating whether to accept the Bouquet de Merde gift supposedly to memorialize the victims of the Paris attack proposed by Koons [pronounced Con] who is not really an artist, the work, scarcely a memorial (many doubting whether it’s even art), and the gesture, far from being a gift.
Welcome to the .034th edition of Prescriptions. Here is our review of the week in the arts.
Dave McDermott’s new works continue his distinctive approach to painting, consistently seeking to enlarge the medium’s inherent boundaries and resisting easy categorization. Through March 11, 2018 at Grimm Gallery, New York.
Gathering the work of a new generation a quarter century after the end of Communism, this exhibit explores new visual representations of lifestyle and landscape in Eastern Europe. Post-Soviet Visions: Image and Identity in the New Eastern Europe, through April 15, 2018 at Calvert 22.
T.S. Eliot spent a few weeks in Margate at a crucial moment in his career. This exhibition explores the significance of his poem, The Waste Land, through the works of over 60 artists, including Edward Hopper, Man Ray, and Cy Twombly. Through May 7, 2018 at Turner Contemporary.
Referencing Melville’s Moby-Dick, the title alludes to the blindness of men in the obsessive search for something, and forms the basis of the metaphor Paul Graham uses for this exhibition. Through May 27, 2018 at Bombas Gens Centre d’Art.
Raoul Hausmann, as the prominent artist of Dada Berlin and the author of assemblages and collages who has long remained underrated, is now re-evaluated in importance and widely acknowledged. On view at Jeu de Paume through May 20, 2018.
Photo Peter Harris Studio
This exhibition will present a re-evaluation of monitor-based sculpture since the 1980’s and serve as a tightly focused survey of works that have been rarely seen in the last twenty years. Presented through April 15, 2018 at MIT List Visual Arts.
Raoul Hausmann’s legacy as painter, photographer, and collagist is re-established and on view at Jeu de Paume; Alice Corà, writer and film director in Rome, graces us with her profile; Paul Graham’s documentary style photography on view at Bombas Gens Centre d’Art; Re-introducing Dina Oganova from the archives of 30 Under 30 Women Photographers 2014; T.S. Eliot, one of 20th Century’s modern masters whose work is the inspiration and premise for the current exhibition at Turner Contemporary; and Dave McDermott’s distinct approach to painting currently showcased at Grimm Gallery.