Wall piece with 200 plastic letters, wooden bars
Thomas Rowlandson (Londres, julio de 1756—22 de abril de 1827)
The Wait by Carlo Carra, 1926
Youcef Korichi: Painting
Eduard Manet (1832-1883), A Bar at the Folies-Bergère, 1881-1882
“Suzon stands alone in a crowded room. The look on her face is detached, melancholy, distracted from her job serving at the bar in the vast crowded room reflected in the glass behind her. There is a locket around her neck that is a token of another life, a love a long way from this job.
The dislocation of Suzon’s world is deliberate. Paris is a hall of mirrors where Suzon floats helplessly, clinging to her bar. The flowers are a touching attempt to preserve a little humanity, as are her neat blue clothes and whole demeanour.”
Etching, aquatint, sugar lift, chine colle
12” x 24”
Gaspard de la nuit, Aloysius Bertrand, 1920.
A pioneer of performance art, Marina Abramović began using her own body as the subject, object, and medium of her work in the early 1970s. For the exhibition Marina Abramović: The Artist Is Present, The Museum of Modern Art’s first performance retrospective, Abramović performed in the Donald B. and Catherine C. Marron Atrium every day the Museum was open for 3 months between March 14 and May 31, 2010. Visitors were encouraged to sit silently across from the artist for a duration of their choosing, becoming participants in the artwork.
Garden with Red Tree - Pierre Bonnard, c. 1909
Woman at the Window - Pierre Bonnard, c. 1895
Eric Drooker, this week’s cover artist, has been glued to the news about Occupy Wall Street. “Manhattan Island has become more and more an exclusive place for the super wealthy, or the super corporations—and a hostile place for people to live, not just for the working class, but even for the middle class,” Drooker says. “The city has become this monolithic cathedral to money.” Here, a selection of New Yorker covers that reflect on tough economic times: http://nyr.kr/osoIky