来源 ：幼教网 2019-11-20 18:24:08|精准3头中特
Through May 12. Participant Inc., 253 East Houston, Manhattan; 212-254-4334, participantinc.org.
Dash Snow died in 2009 of a drug overdose at the age of 27, and this sad, sometimes disturbing show is the largest presentation of his work in New York since then. Organized with the Dash Snow Archive, it reveals both talent and the waste of it.
Mr. Snow was born to wealthy art world aristocracy — the de Menils — and an impeccable uptown pedigree. But he was rebellious from an early age, and began mostly living on his own, downtown, at 15. There he formed an alternative family of street artists and other discontents, whose chief recreation was getting drunk or high. Family money enabled him to pursue these habits full tilt, but that didn’t stop him from making quite a bit of art.
The work in this show at Participant Inc., pessimistically titled “The Drowned World,” identifies Mr. Snow as a kind of post-punk, latter-day Fluxus-Surrealist artist, sarcastic and often angry, and adept at making something out of almost nothing. Included here are 200 Polaroids from the several thousand the artist took, which alternate chaotic debauchery with occasional tenderness.
For his collages, Mr. Snow spliced newspaper images into elegant, suggestive exquisite corpses, and stacked words from headlines into poetic ransom notes. The objects here are only intermittently interesting, among them “I Snorted My Dad,” which begins with a child’s school chair and a stack of New York Post newspapers, and ends with a dark, slim vintage book titled “In the Event of My Disappearance.” ROBERTA SMITH
Through May 12. Magenta Plains, 94 Allen Street, Manhattan; 917-388-2464, magentaplains.com.
Half a dozen arguments about knowledge and perception run through Barbara Ess’s new show, “Someone to Watch Over Me,” at Magenta Plains. This photographer, author and former No Wave rocker is known for favoring lo-fi technology like the pinhole camera, and every image in the exhibition — whether taken at home, grabbed from surveillance footage on the internet, or shot through a telescope — is blurry.
It might seem like a familiar, if perennially topical, comment on the unreliability of photography as a medium. But this blurriness also unmasks the role that the viewer’s expectations play in making a picture: The five white blobs in a staticky gray print called “Wild Horses” do look like horses, but if the piece were titled differently you would also believe they were just digital noise. Sometimes the blurriness dampens your impulse to interpret, as in the alluring “Beach (from Balcony).” You can’t make out any details; all you can do is enjoy the pretty colors. Most of all, by stripping an image of its extraneous ambiguities, Ms. Ess’s studied blurriness leaves in place only such facts as she can transmit with certainty.
In “Guys on Corner,” two figures dressed in black face each other on a New York City street corner. You know it’s New York from the flashing orange of the Don’t Walk sign, and you know the sign is orange thanks to a minimal but sufficient halo of reddish pixels in an otherwise monochrome print. Is one of them leaning back in disbelief at something the other said? Has he been shot? Or are they ogling someone out of frame? If you could see their expressions, you’d have to guess. But because you can’t, you stick with what you know: Just two guys on a corner, like the title says. WILL HEINRICH
Through May 17. International Studio and Curatorial Program, 1040 Metropolitan Avenue, Brooklyn; 646-671-0391, iscp-nyc.org.
There’s no way Eusapia Palladino, an Italian spiritualist medium, could have read the radical feminist Valerie Solanas’s “SCUM Manifesto," which calls for the elimination of men. Ms. Palladino died nearly 50 years before the manifesto was published, and she was illiterate. But what if, by some magical reordering of time and fact, she could have? Would she have found it meaningful or inspiring? These questions are raised by “Less Light,” the first United States solo exhibition for Chiara Fumai, whose work will be among those representing Italy at this year’s Venice Biennale.
Ms. Palladino, whose psychic powers were denounced as trickery during her lifetime, served as a muse for Ms. Fumai, who died in 2017. This was a crux of the artist’s practice: She resuscitated female historical figures from obscurity, creating a new feminist pantheon that values alternative forms of creativity. Several of those figures appear here, including Elisabetta Querini, a Dogaressa of Venice, and Annie Jones, a bearded lady with P.T. Barnum’s traveling circus. In the photographs that open the show, Ms. Fumai dresses up and poses as some of them, with the SCUM Manifesto at hand. A line from it appears on the wall behind her: “A male artist is a contradiction in terms.”
The installation “The Book of Evil Spirits” (2015) incorporates photographs of Italian Sign Language, automatic drawings, the elements of a Ouija board and a video featuring Ms. Fumai as Ms. Palladino, channeling other women. The video is layered, mixing images, texts, time periods, fact and fiction. Like all the work in the show, it has an air of purposeful artifice — suggesting that history itself is a kind of performance, and that art may just be the thing to help us rewrite it. JILLIAN STEINHAUER
Through June 9. New Museum, 235 Bowery, Manhattan; 212-219-1222, newmuseum.org.
What if indigenous people could turn the tables on colonial powers, ingesting their cultures and using them for their own ends? The Brazilian poet Oswald de Andrade’s “Anthropophagic Manifesto” (1928) encouraged Brazilians to “cannibalize” or devour other (European) cultures in order to liberate themselves from domination, an idea Jeffrey Gibson borrows for his exhibition “The Anthropophagic Effect” at the New Museum.
Mr. Gibson’s show is crammed with history and ideas — but also striking objects, images and rousing performances. (One to look for is a drumming event on June 8 with 50 performers in the museum’s lobby and theater.) His signature works, however, are geometrically patterned garments that resemble the ghost shirts worn by Native American warriors, as well as helmets. He calls these “proposals,” since they include traditional materials like beads and bits of gourd or porcupine quills, but are updated with text printed in graphic lettering or photographs. A nearby display of Cherokee and Choctaw objects and clothing borrowed from his family copies the clinical arrangements in ethnographic museums. A table in the gallery is covered with colorful slogans: “He Speaks to Ancestors”; “She Makes Music as Magick”; “His Paints Are His Medicine”’; “Their Dark Skin Brings Light.” Shelves of books offer lessons on indigenous film, political resistance and modern art, which was often deeply influenced by indigenous patterns and rituals. What becomes clear is the two-way effect of Anthropophagia: The colonizers cannibalized, but so did indigenous peoples. In the latter case, however, this is an aesthetic very hard won. MARTHA SCHWENDENERB:
精准3头中特【大】【风】【起】【兮】【云】【飞】【扬】？【安】【得】【猛】【士】【兮】【守】【四】【方】？ 【很】【抱】【歉】【的】【是】，【此】【时】【此】【刻】【的】【环】【境】【里】【不】【仅】【没】【有】【什】【么】【大】【风】【起】【兮】，【更】【没】【有】【什】【么】【猛】【士】。【只】【有】【一】【名】【死】【士】，【满】【脑】【子】【里】【都】【是】【进】【攻】【和】【鲜】【血】。 【然】【就】【在】【这】【名】‘【死】【士】’【刚】【迈】【出】【向】【死】【的】【第】【一】【步】【时】【候】，【周】【围】【的】【所】【有】【开】【始】【扭】【曲】【且】【不】【断】【崩】【塌】。【熟】【悉】【的】【尘】【埃】【气】【味】【扑】【鼻】【而】【来】【呛】【得】【我】【忍】【不】【住】【的】【咳】【嗽】。 【模】【糊】【的】【人】【影】
“【今】【天】【我】【们】【讲】【讲】【托】【瑞】【尔】【的】【历】【史】，”【皮】【埃】【尔】【先】【生】【将】【手】【中】【资】【料】【放】【在】【桌】【上】【对】【伊】【恩】【说】【道】。 “【为】【什】【么】【不】【继】【续】【将】【默】【发】【技】【巧】？”【伊】【恩】【很】【是】【不】【解】，“【学】【习】【历】【史】【对】【我】【有】【什】【么】【用】【处】？” “【历】【史】【学】【不】【是】【要】【培】【养】【关】【于】【过】【去】【的】【充】【满】【了】【彼】【此】【永】【远】【隔】【阂】【的】【怨】【恨】【和】【认】【同】【的】【回】【忆】，【二】【是】【要】【努】【力】【理】【解】【发】【生】【了】【什】【么】，【以】【及】【为】【何】【发】【生】。【它】【是】【在】【寻】【找】【解】【释】；【它】【试】
【镇】【妖】【城】【的】【城】【主】【府】【中】，【项】【镇】【天】【和】【张】【楚】【他】【们】【正】【商】【量】【着】【明】【天】【五】【行】【神】【殿】【之】【事】。 【项】【镇】【天】【一】【脸】【凝】【重】，【道】:“【五】【行】【神】【殿】【是】【灵】【界】【最】【危】【险】【的】【禁】【地】，【里】【面】【有】【各】【系】【元】【素】【精】【灵】，【得】【之】，【可】【突】【破】【地】【仙】！ 【向】【来】【是】【三】【眼】【族】，【羽】【族】，【人】【族】，【妖】【族】【的】【必】【争】【之】【地】。 【妖】【族】【被】【我】【等】【拦】【截】【封】【印】，【但】【也】【可】【以】【从】【妖】【界】【进】【入】【五】【行】【神】【殿】。 【进】【入】【后】，【各】【族】【争】【霸】，【危】
【半】【夜】【的】【时】【候】，【县】【长】【让】【人】【把】【挖】【出】【来】【的】【女】【尸】【体】【抬】【回】【了】【家】。 【尸】【体】【已】【经】【发】【臭】【发】【烂】【了】，【很】【恶】【心】，【抬】【回】【来】【不】【一】【会】【儿】【就】【有】【虫】【子】【爬】【过】【来】。 【那】【个】【男】【人】【腿】【伤】【才】【止】【住】【血】，【疼】【得】【差】【点】【晕】【过】【去】，【此】【刻】【看】【到】【女】【尸】【体】【就】【想】【吐】，【胃】【里】【又】【没】【有】【什】【么】【吐】【的】，【直】【冒】【酸】【水】。 【本】【来】【往】【尸】【体】【爬】【的】【一】【些】【虫】【子】，【闻】【到】【血】【腥】【味】【也】【往】【他】【这】【边】【爬】【来】【了】。 【他】【用】【另】【一】【只】【脚】精准3头中特【当】【世】【韶】【华】，【东】【海】【之】【上】。 【云】【霄】【盘】【踞】，【龙】【魔】【的】【骤】【然】【消】【失】，【虽】【然】【让】【太】【华】【山】【压】【力】【大】【减】，【但】【是】【万】【龙】【化】【魔】，【其】【中】【的】【凶】【险】【比】【起】【之】【前】【只】【高】【不】【低】，【眼】【看】【天】【象】【大】【阵】【即】【将】【崩】【塌】，【一】【切】【万】【象】【都】【岌】【岌】【可】【危】。 【六】【天】【洞】【渊】【大】【帝】【再】【也】【按】【耐】【不】【住】，【他】【看】【到】【自】【己】【曾】【经】【提】【携】【过】【的】【后】【辈】【被】【杀】【死】，【而】【太】【华】【山】【与】【万】【龙】【的】【比】【例】【明】【显】【失】【衡】，【这】【一】【次】【大】【劫】，【甚】【至】【不】【允】【许】【自】
【张】【潇】【腾】【即】【便】【还】【没】【有】【获】【得】【任】【何】【传】【承】【的】【青】【睐】，【不】【过】【却】【感】【受】【到】【了】【一】【股】【玄】【妙】【的】【气】【息】。 【仅】【仅】【着】【一】【股】【气】【息】【就】【让】【他】【感】【觉】【到】【自】【身】【获】【益】【匪】【浅】，【好】【似】【获】【得】【无】【数】【的】【好】【处】。 【不】【过】【片】【刻】【时】【间】，【张】【潇】【腾】【的】【修】【为】【与】【精】【神】【力】【竟】【然】【再】【度】【暴】【涨】。【众】【人】【全】【都】【有】【些】【麻】【木】【了】，【这】【已】【经】【是】【第】【几】【次】【了】？ 【此】【刻】【张】【潇】【腾】【的】【修】【为】【直】【接】【逼】【近】【地】【元】【境】【的】【巅】【峰】，【那】【些】【之】【前】【还】【打】
【第】【一】【百】【八】【十】【六】【话】 【正】【月】【初】【十】，【季】【归】【尘】【亲】【自】【选】【定】【的】【吉】【日】，【白】【云】【观】【山】【门】【大】【开】，【护】【山】【大】【阵】【被】【打】【开】，【归】【一】【宗】【时】【隔】【二】【十】【多】【年】【再】【次】【显】【露】【在】【世】【人】【面】【前】。 【继】【任】【大】【典】【的】【正】【式】【时】【间】【是】【十】【二】【点】，【但】【从】【早】【上】【七】【点】【钟】【开】【始】，【就】【陆】【续】【有】【车】【子】【开】【上】【白】【云】【观】。 【江】【远】【和】【连】【泽】【被】【季】【归】【尘】【安】【排】【去】【接】【待】【客】【人】，【两】【人】【身】【着】【归】【一】【宗】【弟】【子】【的】【服】【装】——【白】【色】【绣】【有】【云】【纹】
【王】【大】【嫂】【和】【二】【嫂】【把】【气】【咻】【咻】【的】【小】【姑】【子】【劝】【住】，【又】【说】【王】【三】【嫂】，“【你】【说】【话】【也】【不】【寻】【思】【寻】【思】，【你】【这】【么】【说】【慧】【妍】【她】【能】【不】【生】【气】【嘛】。” 【王】【二】【嫂】【问】【方】【志】【萍】，“【你】【又】【是】【怎】【么】【回】【事】？【你】【也】【想】【离】【婚】？” 【志】【萍】【捂】【着】【脸】【只】【是】【哭】【不】【吭】【声】。 【王】【三】【嫂】【气】【急】，【怎】【么】【别】【人】【家】【都】【没】【事】，【就】【她】【的】【两】【个】【女】【儿】，【一】【个】【比】【一】【个】【不】【省】【心】。 【她】【拿】【起】【地】【上】【烧】【火】【的】【柴】【禾】【就】【朝】【她】