DATE 6/25/2024

LIVE from NYPL presents Michael Stipe launching 'Even the birds gave pause'

DATE 6/22/2024

Artbook at Hauser & Wirth Los Angeles Bookstore presents Penny Slinger launching and signing 'An Exorcism'

DATE 6/20/2024

picturehouse + thesmalldarkroom present Yelena Yemchuk on 'Malanka'

DATE 6/13/2024

ICP presents Eugene Richards on 'Remembrance Garden'

DATE 6/13/2024

LaToya Ruby Frazier, removing the contradiction between ideals and practice

DATE 6/8/2024

"Next-level otherness" in Pride Month staff pick 'Nick Cave: Forothermore'

DATE 6/6/2024

Celebratory and transgressive, 'John Waters: Pope of Trash' is a Pride Month Staff Pick

DATE 6/3/2024

In Nan Goldin's 'The Other Side,' you are who you pretend to be

DATE 6/2/2024

Green-Wood Cemetery presents Eugene Richards launching 'Remembrance Garden: A Portrait of Green-Wood Cemetery'

DATE 6/1/2024

There's no such thing as being extra in June! Pride Month Staff Picks 2024

DATE 5/28/2024

'Mickalene Thomas: All About Love,' on view at The Broad

DATE 5/24/2024

Celebrate Memorial Day weekend with Garry Winogrand's intimate, flashing mirror of America

DATE 5/24/2024

Beautifully illustrated essays on Arab Modernists


"Clipped Tulip" (2020) is reproduced from

In a season of renewal, to look without fear

An image that fills us with longing and some strange sense of mortality—or immortality—“Clipped Tulip” (2020) is reproduced from Wolfgang Tillmans: To look without fear—published to accompany the exhibition on view now at Art Gallery of Ontario en route from MoMA. This is the image we most want to look at right now, as we contemplate the various emotionally-charged overlapping holidays of renewal this week. “For Tillmans, life’s holy mess of ordinary pleasures is not merely catalogued but equalized,” Durga Chew-Bose writes. “The surreal complacency, for instance, of rotting fruit, is given prominence. But so is fresh parsley or half a grapefruit, sucked dry. A single white rose lying on a bed of cherries is funereal. A red pear—its stem erect—seems shy. If his practice shows a preference for what is, an allegiance to parity is essential to how Tillmans documents his worlds. There is no justifying the maple leaf next to the ashtray, next to the kiwi. Tillmans’ still life photography eludes any hierarchic portrayals of the quotidian, harmonizing matter-of-fact materials (like bubble wrap) with romance (like dried flowers). The margins and the middle collide, but more than that, they are in concert. But more than that, they are unsolvable. And isn’t that the point? As the poet and essayist Mary Ruefle notes: ‘It is not what a poem says with its mouth, it’s what a poem does with its eyes.’”

Wolfgang Tillmans: To look without fear

Wolfgang Tillmans: To look without fear

The Museum of Modern Art, New York
Clth, 9.5 x 12 in. / 320 pgs / 400 color.

$75.00  free shipping

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