Artbook at Hauser & Wirth LA Bookstore presents the Los Angeles book launch and signing for 'Mary Manning: Grace Is Like Music'
The Brooklyn Museum presents the launch of 'Imagining the Future Museum: 21 Dialogues with Architects' by András Szántó
Artbook @ MoMA PS1 presents the book celebration and signing of 'Just Above Midtown: Changing Spaces'
Cronus (2022) is reproduced from Jameson Green, the first major monograph on the rising painter whose work directly addresses and critiques the imagery of racism via intuitive sampling from a long list of influences, including R. Crumb, Philip Guston, Jacob Lawrence, Pablo Picasso and Bill Traylor, to name just a few. Writing on Green’s most recent cycle of paintings, essayist Dan Nadel cites certain myths around the sacrifice of the son. “In three large canvases and a group of related portraits, Green explores the human emotions, paint languages and contemporary implications of the Crucifixion of Jesus Christ for a better future; Abraham’s offering to sacrifice Isaac as a show of faith; and Cronus eating his son out of sheer power hunger. Green is painting these with ever sharper edges looking to the pine tree angularity of F. N. Souza’s religious paintings. We are privy to Cronus’s depraved indifference as he tears apart the pearlescent child, setting off crimson fireworks. Rooted in the pageantry of Rubens and the grit of Goya, these paintings are asking what’s worth a sacrifice, what lessons are on offer, and how, as with the American story, we go forward on a ground riven with violence. Green, a son and soon to be a father, is deep in the weeds of the human project, offering questions beautiful, terrifying and necessary.”
"Nazarite" (2020) is reproduced from Sharif Bey: Excavations, the beautifully designed and thoughtfully conceived first major monograph on the Pittsburgh ceramicist and sculptor whose work explores functional and ritual objects, arts of the African and Oceanic diasporas, and notions of power and ornamentation. “I was raised in an anti-imperialist household influenced by the teachings of the Moorish Science Temple of America,” he writes; “founder Timothy Drew Ali promoted personal transformation, racial pride and spiritual uplift. My father vehemently rejected mass media that celebrated White heroes and marginalized or stereotyped representations of color. When it came to play and art-making, my eleven siblings and I were not allowed to play with European or White action figures. Since I was not afforded the full cast of characters, inclusive of White male protagonists, I couldn’t follow what I now understand to be the American master narrative. We substituted, imagined, or created our own characters and incidentally recreated storylines. For example, since we didn’t have Luke Skywalker, my younger brother and I asked, ‘What might Star Wars be like if Black Belt Jones [played by actor Jim Kelly] were in his place?’ My great uncle taught us to be critical of the media and question the news. He listened to alternative and international news programs on his shortwave radio. Our family instilling an acute awareness of historical inaccuracies and racial distortions led to an ongoing criticality. By the time we reached adolescence, we were used to thinking outside of the box.”
Featured image—of Gianfranco Ferré's 1989 Vincennes evening gown for Christian Dior—is reproduced from Delpire & Co.'s evocative new three-volume visual history of the French fashion house as imagined by contemporary photographer Sarah Moon. The first volume, starring "timeless" Majorcan model Andrea Gutiérrez, presents Dior's original work, 1947 to 1957, shot in luminous black-and-white. The second volume, introducing subtle color, explores the Dior archives, with designs by Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and current creative director Maria Grazia. Volume three presents 38 photographs made in dialogue with Chiuri. "Sarah Moon’s personal style, it seems to me, rests in her ability to give shape to unconscious movements and self-reflexive intuitions," Chiuri writes, "her ability to express, through her images, feelings and moods that words struggle to describe.… For me her shifting, intimate atmosphere, suspended in time, is such a fitting visual representation of my constant travels between the past and the present, through which I create images for the future. There is something truly special, magical, in these images, an interweaving of the vision of the house of Dior, which has always sought to interpret and represent the contemporary woman, and the feminine vision of Sarah Moon, imperfect, permeable and charged with emotion."
IMAGE CREDIT: Vincennes, Gianfranco Ferré for Christian Dior. Evening gown, Autumn/Winter 1989 © Sarah Moon