All Photos By Gail
Even in the steady drizzle that fell over Central Park on the day I snapped these photos, Monira Al Qadiri’s new public art sculpture First Sun looked radiant. Installed at Doris C. Freedman Plaza at the park’s southeast entrance, the 17-foot-tall work commands the space with an otherworldly presence that feels both ancient and futuristic.
Continue reading First Sun By Monira Al Qadiri Radiates at Doris C. Freedman Plaza
Photo By Gail
In this photograph referred to as Glass Tears (1930–33), the face of a model known as Lydia acts as a backdrop for a group of small, gleaming glass balls. Man Ray made multiple variants of the image, in which the balls, like tears, appear to move and multiply across her static face from one version to another. He originally conceived of this shot as an advertisement for smudge-proof mascara.
Photographed as part of the Exhibit, Man Ray: When Objects Dream, at the Metropolitan Museum of Art in New York.
Photo By Gail
An expression of artist Dindga McCannon’s love for Black American women, Revolutionary Sister (1971) was a response to the absence of depictions of women fighting for Black empowerment in the 1960s and 1970s.
Continue reading Modern Art Monday Presents: Revolutionary Sister By Dindga McCannon
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Photo By Gail
Street artist Jorit has recently created a series of murals in downtown Manhattan that explore the profound societal shifts brought on by artificial intelligence, explicitly drawing thematic influence from AI pioneer Geoffrey Hinton. In these new works, the artist blends his signature hyper-realistic portraiture with neural network-inspired patterns, referencing the structure of deep learning models that Hinton helped to develop.
Continue reading AI-Influenced Street Art By Jorit in Freeman Alley
Photo By Gail
Audrey Flack (1931 – 2024) was the most prominent woman artist to gain recognition as a photorealist in the 1960s and 1970s. She approached the genre of still life, which for centuries had been considered unprestigious by European and North American standards, with irreverent pleasure. Leonardo’s Lady (1974) presents tokens of traditional femininity (a jeweled bubble, embroidered ribbon, pink rose, and pressed powder compact), frivolity (effervescent champagne and shiny objects), and sexuality (a ripe, dripping pear and a reproduction of Leonardo da Vinci‘s portrait of Francis I’s reputed mistress). Continue reading Modern Art Monday Presents: Audrey Flack Leonardo’s Lady