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New YorkJuly 13, 2022 • View in browserMet Exhibition Brings Back the Color to Ancient SculpturesChroma: Ancient Sculpture in Color reminds us, once again, that our view of the ancient world is whitewashed. | Elaine Velie With extensive scientific explanation and lifelike replicas, Chroma leaves no doubt in visitors’ minds that ancient statues were painted. And maybe this major museum show will finally change the way we think about ancient sculpture — not as pristine and white, but as colorful, vibrant artistic expressions. LATEST NEWS NYC Mayor Eric Adams slashes school funding by over $200 million, jeopardizing art departments across the city. Controversial figure Richard Armstrong will step down as Guggenheim’s museum director after 14 years. Sotheby’s is bringing the first Gorgosaurus to auction, which could sell for up to $8 million. WHAT TO SEE THIS WEEK Aarati Akkapeddi, still from “I knew that if I walked in your footsteps, it would become a ritual” (2020-2022) (image courtesy the Center for Book Arts) Performing Documents: Modes of Assembling With internet ephemera disappearing by the day, the Center for Book Arts celebrates modern-day archivists of print and digital media working with online data scraping, machine learning, interview recording, and video techniques. Stacey Davidson: Boatloadand Tuçe Yasak: Light Is Generous Stacey Davidson’s “Boatload” will likely be a familiar scene for many viewers. Made with dolls, red Solo cups, and miniature American flags, the hanging installation depicts the bizarre camp of white nationalism in the United States. In the main gallery, Tuçe Yasak’s summer residency Light Is Generous creates space for silent introspection Francheska Alcántara: Secure the Bag, Mint the Soaps, and Throw the Bones Through an examination of “loaded objects,” such as brown paper bags and Hispano Cuaba soap, the artist unpacks histories of racial coding and governance over queer bodies. ALSO ON HYPERALLERGIC In Pursuit of BelongingMining the elusive nature of memory, Joeun Kim Aatchim reveals the urgent, universal desire to cling to the past despite its transience. | Catherine Yang Comprising past and more recent works superimposed on top of one another to create new forms, Aatchim’s dreamlike drawings evoke a sense of synchronicity. The scenes depict memories across multiple perspectives and timelines. As fragmented and disconnected as the act of remembering itself, the layered imagery demands double-takes from the viewer — faces and limbs overlap, disparate objects intersect, and different vignettes from the artist’s past collide with poetic happenstance. Become a member today to support our independent journalism. Become a Member |
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