| Today, critic John Yau reviews Trenton Doyle Hancock’s exhibition at the Jewish Museum in New York, in which the artist engages with and responds to Philip Guston's Ku Klux Klan satirical paintings. “Guston teaches us a hard lesson: We must embrace our inescapable solitariness wherever it takes us,” writes Yau. What a line! And in case you missed it, listen to a conversation between Yau, Editor-in-Chief Hrag Vartanian, and Hancock in the latest episode of the Hyperallergic Podcast. In the news, a Charlottesville nonprofit is seeking proposals for recasting the melted bronze of the statue of Confederate general Robert E. Lee, while scientists find that the volcano that wiped out Pompeii turned a man’s brain into glass. Also, a documentary film made by a Palestinian-Israeli collective that no American distributor would take wins an Oscar. There’s much more, including an artist’s sobering exploration of unexploded American bombs in Vietnam, shows to see this week in New York City, and this month’s Hyperallergic Art Crossword. — Hakim Bishara, Senior Editor | | |
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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| | With generous, sharp humor, Hancock and Guston show us through their art how venial and self-deceiving we have become. | John Yau |
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SPONSORED | | | | | Affordable Art Fair offers something for everyone and a place to find confidence in your taste. Learn more |
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LATEST NEWS | | | The Jefferson School African American Heritage Center in Charlottesville, Virginia, is looking for artists to transform the melted remains of the city’s Robert E. Lee statue. No Other Land creators urge world leaders to “stop the ethnic cleansing of Palestinian people” in Oscars speech. Scientists recently determined how the brain of a victim of Mount Vesuvius’s 79 CE eruption managed to be preserved through its conversion into glass. |
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THIS MONTH’S CROSSWORD | | | The art world’s beginning to thaw, and we have clues to kick off spring — from Amy Sherald and Christine Sun Kim to Dutch masters and Luigi Mangione’s signature color. | Natan Last |
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SPONSORED | | | | | Six alumni of the Hartford Art School paint their dream murals in this community-centered exhibition and share the transformative power of public art with the next generation of artists. Learn more |
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FROM OUR CRITICS | | | The US deployed the largest aerial bombardment in history during the Vietnam War. Here, the artist tells the plaintive story of those unexploded weapons. | Lisa Yin Zhang |
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| | | Alternately ominous and transcendent, Doug Aitken’s panoramic Lightscape cycles through scenes of human movement enthralled by highways and city streets. | Brian Karl |
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MORE ON HYPERALLERGIC | | | See socially and politically engaged art, Trenton Doyle Hancock paired with Philip Guston, plus geometric abstraction and some medieval treasures. | Natalie Haddad |
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| | | Residencies, fellowships, grants, and open calls from Center for Craft, UT Austin, Bemis Center, and more in our monthly list of opportunities for artists, writers, and art workers. |
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MEMBER COMMENT | | Jozie Rabyor on “Caspar David Friedrich Captured the Belated Moment”
| | Beautiful, evocative, thought-provoking work all round –Friedrich’s paintings, Natalie Haddad’s interview questions and editing, and Professor Koener’s insights. I am pleased that she struck such a nice balance between Koener’s personal/autobiographical material and his scholarly responses to CDF’s oeuvre. It was also fun and mind-expanding to be pulled in so many directions — the personal, the objective, the ancient past (rocks!) and the more recent past, the present, a contemplation of the future, eternity, the material, the spiritual, the psychological, and so on. I always like work — books, movies, essays, etc. — that present multiple points of view, so the way Koener’s comments continually invited me to “look at it this way,” then to “consider this perspective,” then noted “this is a mystery,” and so on appealed to this strong bias of my own. |
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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