Cool article and photo essay in the New York Times on dead malls, how these are emptied out through the auction process, where all the stuff goes, etc. The images are akin to “ruin-porn,” visual documentation of once grand buildings and public spaces now abandoned or crumbling in decline. It’s
We woke to the news this Saturday morning that the U.S. presidential election result finally has been called in favor of Joe Biden and Kamala Harris! It marks the end of an ugly, chaotic, incoherent, rhetorically-offensive and disturbing chapter in American executive political leadership (or lack thereof) and presidential history.
With urban architectural surfaces an almost always available canvas for street art and graffiti art, new artwork can emerge quickly in response to current events, often as an expression of protest or as a way to communicate a message. It can creatively reflect the mood and sentiments of a society
Look up in the sky! It’s … it’s a … it’s a hashtag! Yes, right there, in the air, under the scorching mid-day sun, in our view, it’s a gosh-darn hashtag — skywriting of #AMERICA — letters fading and floating apart, ephemeral, as we walk the back streets of Venice
Artist Glenn Ligon‘s “Double America 2” is among the most profound works of contemporary American art, and it is profoundly American. It’s absolutely brilliant. Literally and figuratively. The artwork can be read on several levels. At its core is the idea of there being two different Americas or American experiences
The New York Times has just published a fascinating article titled “Eight Ways to Build a Border Wall” that looks at various construction prototypes for a new border wall between the U.S. and Mexico. See screenshot above.
The white neon-light “America” sign (titled Rückenfigur) by New York-based artist Glenn Ligon at the “Human Nature” contemporary art exhibition at the Los Angeles Country Museum of Art (or LACMA).