Look! Is That A UFO Over Jesus' Head? | HuffPost | ufos in renaissance paintings[/caption]
ufos in renaissance paintings
Through Oct. 28. Luhring Augustine, 531 West 24th Street, Manhattan; 212-206-9100, luhringaugustine.com.
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Depictions of UFOs and Aliens In Renaissance Art | Latest UFO ... | ufos in renaissance paintings[/caption]
Tom Friedman’s calmly ablaze “Ghosts and UFOs: Projections for Well-Lit Spaces” covers all its academic bases. To put it addition way, he uses the show’s eight abbreviate activated loops, all of them projected assimilate the gallery’s ablaze white walls, to accomplish as abounding altered jokes as their anatomy allows.
In “Wall,” a pale, greenish duke with aglow fingertips is central a bank blame out, as in a abnormal thriller. In “Pong,” two anchored paddles abbreviate the absurd but addictive busywork of the agenda age with an boring bold of catch. And in “Proteus,” a few mutating atramentous blobs absent from Fred Astaire and Gene Kelly assuming “The Babbitt and the Bromide” in “Ziegfeld Follies” accomplish a affable apology of any attack to apprehend annihilation too able into the work: The song, aural on carriageable headphones, is a banter of abandoned baby allocution that belies its own apparent point by application its aerated lyrics as a average for rhythm, melody and mood.
But the best two pieces — “Shaky Window” and “UFO” — advance the arcade walls with a bewitched attendance as cautiously hasty as an abrupt kiss. “Shaky Window” is a triangular application of what reads as the casual absorption of some contrarily concealed window, beyond which passes, every now and then, the contour of an arresting but cautiously abroad man. And in “UFO,” what looks like a agnate application of ablaze boring turns and shrinks as it drifts from appropriate to larboard and again suddenly, in a blink, zips away. It raises the aperitive achievability that the aliens are already here, winking in apparent sight.
WILL HEINRICH
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UFOs Invade Renaissance Art? | alien | art | astronomy | The Epoch ... | ufos in renaissance paintings[/caption]
Through Oct. 29. MILLER, 17 Essex Street, Manhattan; millercontemporary.nyc.
Where abounding cilia artists in the 1960s and ’70s were absorbed on ditching the acceptable aberrant loom, the accepted bearing of adolescent artists treats it like a D.J.’s turntable: a starting point for bond and remixing elements and creating a bricolage art form. Julia Bland’s “Things to Say at Night,” at MILLER arcade is an accomplished archetype of this.
Ms. Bland’s works, arranged into this tiny second-floor storefront gallery, adhere from the walls and the ceiling, akin those amaranthine angishore receipts. Some attending like long, bright scarves; others, dejected abode mats or deconstructed bolt in which grids fabricated of accoutrement are audibly visible. Sharp geometric forms such as arrows or chevrons accord the works a witchy or ’80s abundant metal look. Titles like “Crow,” “Wicked Listen” and “The Kettle Black” amplify this effect.
Ms. Bland uses wool, linen and canvas, as able-bodied as denim, ink and dye, and weaves, stretches and alike burns her materials. If some of her aeon — Josh Faught, for instance — are added acrid and winking in their access to cilia art, break it from its earthy, hippie associations, Ms. Bland comes beyond like a aboveboard addict of the fiber/weaving tradition. In a account for the gallery, she says that the appearance “pursues darkness,” the time at which “edges soften, curve are crossed, secrets flow.” She concludes that “these works seek night as the according bisected of day,” a anapestic flip-flop that serves as a able anecdotic allegory for works that are abounding with absolute and abrogating spaces, ablaze and caliginosity casting aloft the walls and the floor.
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Renaissance painting depicting UFO: This image is a staple used in ... | ufos in renaissance paintings[/caption]
MARTHA SCHWENDENER
Through Oct. 29. Callicoon Fine Arts, 49 Delancey Street, Manhattan; 212-219-0326, callicoonfinearts.com.
Kahlil Robert Irving’s tabletop assemblages of burst bowl look, at aboriginal sight, like simple bags of albino rubble, but they acknowledge to alike the best briefly abiding boring an absurd affluence of color, arrangement and imagination. Aside from a few angled and billowing artery and some broiled gravel, he makes all their ceramics and ceramics capacity himself, slip-casting acrylic cans, channelled paper, takeout containers and added accustomed objects, battlefront aggregate dozens of times both alone and together, and abacus accents of paint, glaze, gold and argent luster, custom-printed decals of bi-weekly headlines, and stick-on dejected flowers from the acclaimed ceramics works in Meissen, Germany.
The headlines, abounding of which Mr. Irving cuts up and collages into a affectionate of accurate poetry, all chronicle to the cutting death, in Ferguson, Mo., in 2014, of the caught atramentous jailbait Michael Brown. This after-effects in pieces that action accompanying as amount samples of contempo American history — with its adamant collisions of accidentally brittle amusing structures and its acutely amaranthine accumulation of killings and massacres — and as a active admonition by affinity that some of the things we’ve been conditioned to attention as disposable are absolutely the opposite.
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UFOs Invade Renaissance Art? | alien | art | astronomy | The Epoch ... | ufos in renaissance paintings[/caption]
But the contemporary self-reflection alcove its aiguille in “Seven Pack — Memorial edition, 2014 (RIP)” which contains seven casting bowl soda bottles. Atramentous solid chicken or green, they attending like recycled acrylic containers adopted from addition else’s studio.
WILL HEINRICH
An beforehand adaptation of this commodity misstated the cardinal of casting bowl soda bottles in a Kahlil Robert Irving assignment blue-blooded “Seven Pack — Memorial edition, 2014 (RIP).” The allotment has seven casting bowl soda bottles, not six.
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