Gene Hackman’s Paintings, Canceled Exhibition in DC, and More: Morning Links for February 28, 2025
Hackman was a board member at the Georgia O’Keeffe Museum in Santa Fe.
Author: Feed Fetcher
The Underwater Photographer of the Year Celebrates 60 Years of Wildlife Diversity
From the depths of the Red Sea to the swamps of the Everglades, the winning images take viewers on a journey across the world.
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Sotheby’s to Hold Landmark Single Owner Old Masters Auction Estimated to Net $80–$120 M.
Old Masters are an often overlooked segment of the art market, but have seen a bump in recent years.
In a Timely D.C. Exhibition, Artists of Color Use Sculpture to Question Who’s Worth Remembering
“The Shape of Power” is on view at the Smithsonian American Art Museum through September 14.
Anna Odell Was Impregnated in a Psychiatric Ward, Then Made an Unlikely Film About It
The film is in no way sensational or traumatic. What is most shocking, rather, is how calm and cool it is.
Time Traveling: Danielle Mckinney in Conversation with Edward Hopper
We don’t need to remind you about our love and inspired writing and conversations about and with Danielle Mckinney: she has been the cover of the print edition and a recent guest on the Radio Juxtapoz podcast. Obviously, part of our admiration and interest in the work is the suspension of time in her works, this sort of incredible sense of intimacy, non-era-defined scenes, the solitary power of being alone. They are, indeed, powerful works. For TEFAF Maastricht, Marianne Boesky will pair the smokey, compelling and singular works of Mckinney with Edward Hopper, he too a painter of suspended time and nostalgic loneliness. It is, in so many ways, a perfect duo.
Eric McHenry is the One “Paying the Clowns”
I just found out that Britt Lower from Severence joined the circus between season 1 and season 2, and presumably, before they start shooting season 3. I don’t know why this is significant to Eric McHenry’s Paying the Clowns at One Trick Pony, but there is a surreal and sinister sort of portrayal coming from these works. But they are beautiful and quirky, a sort of kitsch meets nostalgic theatrical setting. But something about the performative aspect of the circus connects with a desire to witness an other, a differecnt dimension, a different reality and yet still be connected to the present. These works take you somewhere and give you the chance to discover a different view of performance.
Mike Kuchar is a “Show Off”
François Ghebaly New York is delighted to present Show Off, iconoclastic filmmaker and visual artist Mike Kuchar’s newest exhibition at the gallery’s Lower East Side location. Since the 1960s, Mike Kuchar has been a majorly influential figure in the underground film and comics scenes. Together with his twin brother George, the Kuchars gained cult recognition first in the Bronx and then in San Francisco for their over-the-top, no-budget films that sent up Hollywood epics, weepy romances, and sci-fi B movies. In iconic films like Sins of the Fleshapoids (1965), The Craven Sluck (1967), and Death Quest of the Ju-Ju Cults (1976), Mike developed his distinctive style that jettisoned traditional narrative structure and acting professionalism in favor of extravagant, tender sagas that would have a significant impact on emerging theorizations…
Jeremy Fish and “The Moral Compass”
Harman Projects is bicoastal this week, first with a booth at the Outsider Art Fair and on the left coast, The Moral Compass, the third solo exhibition by 2x Juxtapoz cover artist and San Francisco-based artist Jeremy Fish. This body of work features new paintings and works on paper in collaboration with Fish’s mother Nicole, a life long librarian and teacher. Each piece is an illustration illuminating one of Ms. Fish’s fables that include a simple lesson and kernel of wisdom.