来源 ：安庆牵手网 2019-12-06 00:47:55|2016年三中三免费公开永不收费
Through April 20. Casey Kaplan, 121 West 27th Street, Manhattan; 212-645-7335, caseykaplangallery.com.
It’s time for some big museum to summon its nerve, take off its blinkers and account for the rash of representational and specifically figurative painting going on right now. Jonathan Gardner’s impressive second New York solo show is one of numerous cases in point. The stylish, stylized paintings in “Desert Wind” are wry, lush and pleasurable in their beauty and their brains. With figures who recline, make love or smoke a hookah in luxurious interiors or hidden gardens, Mr. Gardner’s subject may be reverie or maybe indolence, solitary or not, clothed or nude, at home, but mostly, it seems, abroad. Perhaps he intends these quiet carefree scenes to distract us from how carefully he engineers every composition. If so, he succeeds: It takes a while to understand their formal complexity.
The new works improve on those in Mr. Gardner’s first solo show, also at this gallery, in 2016. The art references have become more subtle. A table leg evokes Brancusi; a red rug may allude to Donald Judd’s early reliefs. Equally important: Pictorial space is now carefully controlled — and mostly flattened out of existence. The compositions present nearly solid fronts of rectilinear elements that push forward, regardless of whether they define tiled floor, wood-grain table tops, a garden wall, or another scene that could be the view from a picture window or a painting within a painting.
Mr. Gardner’s engineering grants each element as much autonomy as possible. Plated food and grouped objects form small, independent still lifes. In “Visions of the Emerald Beyond,” a bright orange striped textile has the punch of an abstract painting, even if a woman in a lavender bikini bottom reclines on it. The waiters’ blue jackets in “The Waiter” and “The Ballroom” have deeper-blue shadows that evoke clouds in a night sky. All the paintings’ parts are kept in check, just this side of mutiny. ROBERTA SMITH
Through April 6. Skoto Gallery, 529 West 20th Street, Manhattan; 212-352-8058, skotogallery.com.
In 1968, Jae and Wadsworth Jarrell helped found a collective of Chicago artists loosely connected with the Black Arts Movement and eventually called AfriCobra (African Commune of Bad Relevant Artists). This couple’s current exhibition, “Master Works/Old and New,” at Skoto, includes original and remade works from 1972 to 2019, and is a bit of a retrospective as well as a teaser for “The Freedom Principle: Experiments in Art and Music, 1965 to Now” at the Philadelphia Institute of Contemporary Art and the traveling “Soul of a Nation: Art in the Age of Black Power, 1963-1983,” which includes their work.
The objects here display the Jarrells’ ethos, however, which was to celebrate black innovation and distill its aesthetics rather than (merely) protest inequality or oppression. Color, music, pattern and rhythm are key to that mission. “Shrine of the Beautiful Queen” (2004) and “Reliquary” (2004) are circular works made with canvas and wood and covered with rhythmic patterning that draws from tribal sculpture and textiles, ritual and sacred objects and the electric colors of Africa and the psychedelic ’60s. Similarly vibrant paintings and lithographs dedicated to Dizzy Gillespie, Miles Davis, Wayne Shorter or Mary Lou Williams use geometric patterns and bright, acid color to pay homage to avant-garde and experimental black musicians.
For me, some of the best AfriCobra works are the garments created by Jae Jarrell, often with luxurious, tactile suede. A dress, a coat and two vests designated as “shields” give an idea of how clothing for Ms. Jarrell can become a walking sculpture and cultural statement. The affirmative nature of all of the Jarrells’ work is the primary message here, however, despite whatever shape it assumes. In this sense, although they are part of African-American art history, they also feel very Afrofuturistic: both innovators and carriers of a forward-looking tradition. MARTHA SCHWENDENER
Through March 31. 205 Hudson Gallery, 205 Hudson Street, Manhattan; 212-772-4991, 205hudsongallery.org.
Through April 21. Pioneer Works, 159 Pioneer Street, Brooklyn; 718-596-3001, pioneerworks.org.
Technology has turned many of us into robots of a sort: We check our email, scan our social media feeds, refresh and repeat. Thankfully, two unrelated but thematically similar group shows demonstrate more expansive possibilities for new media — and, by extension, for our society.
“Refiguring the Future” highlights art that is forward-looking but grounded in the issues and technologies of today. The pioneering artist Sonya Rapoport serves as an animating spirit. In her “Biorhythm” works (1980-84), Ms. Rapoport tested a pseudoscientific theory that claimed people’s behavior follows predictable cycles. She used a commercially available biorhythm kit for a year, while also making daily observations about herself. Resulting works on paper plot vast discrepancies between the two, a theme she continued to explore in participatory performances. Her work is a warning not to trust what technology is selling.
That sentiment lives on in Lauren McCarthy’s “SOMEONE” (2019), which turns viewers into human intelligence assistants for four participants who voluntarily wired their homes with smart devices. On computers in the gallery, you can watch people make dinner, switch on their lights, and respond to custom requests, all while feeling uncomfortably voyeuristic.
Ms. McCarthy’s work has a dystopian vibe, but the exhibition is equally concerned with positive prospects. In Mary Maggic’s parody cooking show “Housewives Making Drugs” (2017), the audience learns a D.I.Y. method for making hormones. The campy video envisions a society in which transgender people have more control over their bodies.
If “Refiguring the Future” has a core argument, this is it: Rather than forcing us into circumscribed boxes, technology can help us break out of them. The same idea drives “Refiguring Binaries,” although the videos and GIFs in this exhibition tend to be less issue-driven and more abstract.
“Refiguring Binaries” is rich in rousing visions of virtual space that decenter Western perspectives and priorities. Lu Yang’s eye-popping “Electromagnetic Brainology” (2017) turns Buddhism’s four “great elements” into sci-fi superhero gods who wear neurotransmitting halo crowns and dance to pop techno. Tabita Rezaire’s “Premium Connect” (2017) is a meditative collage in motion, delving into computing systems, African divination, and plant communication in its quest for a more spiritual mode of human connection.
The only artist in both exhibitions is Morehshin Allahyari, with pieces from her project “She Who Sees the Unknown” (2017-present). Ms. Allahyari researches female monsters and dark goddesses from Middle Eastern cultures and recasts their supposedly negative powers as sources of strength in poetic, multimedia artworks. Her process, which she calls “refiguring,” encapsulates the ethos driving nearly all the artists in these shows. Instead of using technology to chase after the new, why not look to what we have and what we’ve neglected as a means of reconsidering how the world could be? JILLIAN STEINHAUER
Through April 21. Company, 88 Eldridge Street, Manhattan; 646-756-4547, companygallery.us.
Fin Simonetti has men figured out. She set a welded-steel rail right down the middle of her show “Pledge,” at Company Gallery, and balanced a handful of precarious little sculptures on it: a fire extinguisher, a penis, a dog’s paw, a stylized candle, and others, all carved from Spanish blue alabaster. Playing on one wall is a short video montage, called “Pledge 1,” of competitive weight lifters: By cropping out their barbells and closing in on their faces, the young, Canadian-born artist reveals the weird expressions these malest of male athletes assume at peak effort.
It’s easy enough, these days, to point out that traditionally conceived masculinity is pretty fragile. Like the crystalline structure of alabaster, its rigidity is a weakness. Like the obtrusive railing that forces visitors into one particular path around the gallery, its authority has come to seem sort of pointless. And it’s always focused on sex, even when pretending not to be. Several details emphasize the show’s relentless sexual undertone, especially the singular drip carved down the side of each phallic candle.
What’s striking in Ms. Simonetti’s work is the compassion that balances these cutting insights. She started carving stone after her father died, and everything about the show’s layout — the vulnerability of the sculptures, the low height of the railing, the genuine pain on the weight lifters’ faces even when their grimaces look fake — is suffused with grief and longing. WILL HEINRICHB:
2016年三中三免费公开永不收费【到】【现】【在】，【书】【上】【架】【这】【么】【久】【了】，【总】【订】【是】404，【均】【定】【是】202，【昨】【天】【的】【日】【新】【增】【是】2**。 【一】【般】【来】【说】，【上】【架】【当】【天】【的】【订】【阅】【是】【最】【高】【的】，【所】【以】，【乐】【观】【估】【计】【一】【下】，【以】【后】【的】【订】【阅】，【大】【概】【也】【就】【是】【两】【三】【百】。 【也】【就】【是】【说】，【作】【者】【一】【天】【更】【两】【章】，【可】【以】【销】【售】【出】30【元】。 【算】【三】【七】【分】【成】，【每】【天】【作】【者】【可】【获】【得】9【元】。 【一】【个】【月】【两】【百】【七】。 【这】【种】【稿】
【不】【要】【订】【阅】，【明】【天】【改】【回】【来】。【前】【面】【章】【节】【已】【经】【在】【修】【改】，【今】【天】【晚】【上】【就】【能】【把】【这】【一】【章】【之】【前】【的】【全】【修】【改】【完】。 【此】【人】【口】【中】【的】【蛮】【荒】【特】【产】，【叫】【做】【甘】【蔗】。【大】【约】【在】【周】【宣】【王】【时】【期】，【这】【甘】【这】【的】 【因】【为】【大】【汉】【的】【气】【候】【与】【董】【卓】【生】【活】【的】【那】【个】【时】【代】【不】【同】，【使】【得】【甘】【蔗】【也】【能】【在】【扬】【州】【等】【地】【生】【长】。 【普】【通】【人】【只】【是】【把】【它】【当】【做】【一】【种】【水】【果】【或】【是】【解】【渴】、【充】【饥】【的】【玩】【意】。 【本】【来】【不】【是】
【宁】【清】【秋】【没】【有】【想】【过】【要】【骗】【任】【何】【人】，【但】【是】【就】【是】【在】【吃】【饭】【的】【过】【程】【里】【面】【把】【事】【情】【真】【相】【和】【盘】【托】【出】，【那】【只】【会】【让】【大】【家】【觉】【得】【她】【并】【非】【是】【真】【心】【想】【要】【告】【诉】【她】【们】【这】【个】【问】【题】【的】【答】【案】，【所】【以】【想】【方】【设】【法】【的】【编】【造】【一】【个】【可】【笑】【的】【答】【案】【给】【她】【们】，【这】【显】【然】【是】【不】【太】【好】【的】。 【好】【好】【的】【一】【顿】【饭】，【到】【时】【候】【若】【是】【不】【欢】【而】【散】【那】【就】【是】【不】【太】【美】【妙】【了】。 【于】【是】【便】【是】【决】【定】【说】【一】【半】【留】【一】【半】，【也】【不】【算】
【度】【过】【毒】【雾】【沼】【泽】【区】，【呈】【现】【在】【王】【凡】【面】【前】【的】，【是】【一】【个】【深】【凹】【的】【峡】【谷】，【在】【峡】【谷】【的】【前】【方】，【还】【有】【一】【个】【看】【上】【去】【很】【是】【陈】【旧】【的】【洞】【府】。 【这】【洞】【府】【明】【显】【有】【了】【一】【些】【年】【头】，【满】【是】【被】【岁】【月】【冲】【刷】【的】【痕】【迹】，【只】【不】【过】【外】【面】【却】【是】【有】【着】【强】【大】【的】【护】【阵】【护】【住】。 【也】【正】【是】【由】【于】【被】【护】【阵】【护】【住】，【所】【以】【这】【洞】【府】【才】【未】【能】【坍】【塌】【掉】。 【王】【凡】【一】【眼】【就】【已】【经】【看】【出】，【那】【是】【一】【个】【八】【级】【护】【阵】。 【八】【级】【护】2016年三中三免费公开永不收费“【啊】……【好】【饱】……【好】【饱】……【好】【久】【没】【有】【吃】【的】【这】【么】【舒】【服】【了】” 【云】【小】【朵】【拿】【了】【张】【纸】【巾】【擦】【了】【擦】【嘴】，【然】【后】【轻】【轻】【的】【背】【靠】【在】【椅】【子】【上】，【一】【副】【很】【享】【受】，【很】【满】【足】【的】【把】【嘴】【角】【微】【微】【上】【扬】。 【不】，【满】【足】【这】【个】【词】【汇】【可】【能】【用】【在】【女】【人】【的】【身】【上】【不】【是】【那】【么】【恰】【当】。 【因】【为】【容】【易】【让】【人】【引】【起】【误】【会】。 “【小】【朵】，【咱】【能】【不】【能】【有】【点】【出】【息】？【能】【不】【能】【有】【个】【女】【孩】【儿】【的】【样】【儿】，【矜】【持】
7 【逆】【袭】【九】【零】【之】【珠】【光】【宝】【妻】 【第】249【章】 【冬】【冬】【做】【了】【花】【童】， 【另】【一】【个】【花】【童】【是】**【姿】【的】【女】【儿】。 【她】【来】【参】【加】【婚】【礼】【是】【宗】【时】【珍】【帮】【着】【请】【来】【的】。 【虽】【然】【还】【不】【能】【确】【定】【她】【就】【是】【三】【师】【父】，【可】【是】【沈】【含】【玉】【还】【是】【希】【望】【她】【能】【来】。 【她】【跟】【丹】【秋】【和】【程】【经】【理】【并】【排】【坐】【着】，【像】【一】【种】【仪】【式】【感】，【这】【才】【是】【真】【正】【意】【义】【上】【的】【重】【生】。 【两】【个】【孩】【子】【走】【在】【新】【娘】【和】【新】【郎】【前】
【宋】【开】【干】【笑】【了】【两】【声】，【跟】【着】【苏】【元】【进】【去】，【不】【多】【时】【来】【到】【小】【院】【的】【大】【厅】【之】【中】，【见】【主】【位】【上】【方】【坐】【着】【一】【位】【头】【发】【花】【白】【的】【老】【者】。 【不】【过】，【虽】【然】【是】【花】【白】，【但】【却】【打】【理】【的】【极】【为】【精】【致】，【头】【发】【都】【是】【一】【束】【白】【发】【一】【束】【黑】【发】【这】【样】【整】【理】【好】【了】【之】【后】，【梳】【的】【整】【整】【齐】【齐】【的】。【面】【相】【看】【上】【去】，【也】【并】【不】【是】【夜】【辰】【描】【述】【的】【那】【么】【刻】【薄】，【反】【而】【给】【人】【一】【种】【极】【为】【和】【蔼】【的】【模】【样】。 【这】【位】【自】【然】【就】【是】
【最】【近】【十】【年】，【安】【徽】【池】【州】【搞】【房】【地】【产】【开】【发】【的】【时】【候】，【牵】【扯】【到】【一】【座】【无】【名】【坟】【墓】。【当】【地】【曹】【氏】【族】【人】【严】【起】【抗】【议】，【声】【称】【墓】【的】【主】【人】【是】【自】【己】【的】【祖】【先】【之】【一】，【清】【代】【的】【武】【状】【元】【曹】【曰】【玮】。 【最】【后】【曹】【氏】【族】【人】【只】【得】【将】【先】【人】【改】【葬】，【可】【当】【打】【开】【曹】【曰】【玮】【的】【棺】【材】【时】，【却】【发】【现】【了】【让】【人】【意】【外】【的】【事】。 【里】【面】【的】【尸】【体】【没】【有】【头】【颅】。 【曹】【曰】【玮】，【号】【秀】【山】，【字】【继】【武】。【形】【意】【拳】【奉】【为】【第】【三】