Related Articles

When Portland painter Srijon Chowdhury was invited to present a solo exhibition at the Frye Art Museum in Seattle, he asked himself, “what’s the best kind of museum show an artist could have?” His answer: “a retrospective.” Endeavoring to create the effect of a career survey with his first-ever museum exhibition, he produced a series of new mural-size paintings on panel incorporating much of the imagery that has appeared in his work over the last decade.

The Frye show, titled “Same Old Song,” does not include any of his older paintings, but rather glimpses of past works in the form of motifs—things like morning glories, devils, angels, and knives. In creating the exhibition, the Bangladesh-born artist came to see these painted quotations as a kind of self-portraiture, so he literalized the concept: six of the works highlight his own facial features, all at enormous scale and in extreme close-up. “It turns the exhibition space into the inside of my head,” he told me during a studio visit.

Each of these six studies has one gigantic feature that, on closer inspection, abounds with allusions to Chowdhury’s symbolic vocabulary. Measuring a towering 10-and-a-half by 6 feet each, the five adjoined oil-on-linen panels that comprise Mouth (Divine Dance), 2022, induce a sense of envelopment. The interior of the mouth is a hellscape, with flayed and skeletal figures dancing around a fire, imagery reprised from a work Chowdhury painted as a hex against Donald Trump during the 2020 election. Surrounding the mouth, in the creases of the lips, about 150 figures from Chowdhury’s prior works are faintly rendered, like petroglyphs marking earlier civilizations.

The tension between epiphany and mystery remain an inspiration to Chowdhury. His 2017 exhibition “Revelation Theater” at the Art Gym at Marylhurst University in Oregon evoked the Book of Revelations, a Biblical series of visions representing the tribulations and final judgments that await saint and sinner alike. For “Memory Theater” in 2016, a show at Upfor Gallery in Portland, Chowdhury reimagined 16th-century philosopher Giulio Camillo’s proposed architectural structure, whose physical reminders of all the world’s important concepts promised the viewer omniscience. These ideas of sacred vision and prognostication appear again in the 2022 works in the form of divine messengers delivering succor and retribution. “I’m always going back to something,” he said. “I wanted to have ‘Revelation Theater’ and ‘Memory Theater’ in this show.”

Other panels depict some of the recurring motifs in Chowdhury’s illustrative oeuvre, including the morning glory and knife that replace the pupil and iris of Eye (Morning Glory), 2022. Both objects appear in multiple paintings made between 2018 and 2021—works that, for Chowdhury, allude to the thin veil that divides the everyday from the unknown.

Paris, the City of Light. Millions of travelers perceive it as an ideal destination.

With architectures spanning the Middle Ages (Abbey of Saint-Germain-des-Prés) to the 21st century (Frank Gehry’s Louis Vuitton Foundation), Paris offers a way to time travel through beauty. It is the birthplace of Gothic and Art Deco styles, of postmodern aesthetics even. The Cathedral of Notre-Dame de Paris (1163–1345), the Dôme des Invalides (1677–1707), the École Militaire (1751–1780), the Palais Garnier (1861–1875), the Eiffel Tower and the Grand Palais—all can be considered masterpieces in an open-air museum as large as the city itself. Within this vast museum thrive about 200 institutions with collections of their own.

“One of my favorite things about Paris is the concentration of cultural hot spots,” says French artist and academician Jean-Michel Othoniel.

Opposite the Musée du Louvre and its 38,000 works of art stands the Musée d’Orsay, known for its Impressionist treasures. Further along the Seine is the Petit Palais, the Musée d’Art Moderne de la Ville de Paris, the Palais de Tokyo . . . However difficult it may be to choose among them, here is our pick of the 12 best museums in the Ville Lumière.

Designer Lisa Perry’s love affair with art began with fashion, when she began collecting vintage clothing from the 1960s, designers like Pucci and Pierre Cardin. It ultimately led her and her husband, Richard, to amass a collection of Pop and Minimalist art that includes the work of Andy Warhol, Roy Lichtenstein, Martial Raysse, Niki de Saint Phalle, Ellsworth Kelly, Larry Bell, and Donald Judd.

After learning that a ’60s modernist home in East Hampton, New York, that once belonged to Richard Scull—the collector behind the infamous art-market-changing Sotheby’s sale of contemporary art in 1973—was on the market, a new passion emerged in Perry, under the banner of Onna House. “I decided that Onna House would be a project that could bring together everything I love: architecture, design, art, and helping women,” Perry told ARTnews one summer afternoon out East.

Located in a private residence and showing a collection distinct from Perry’s more well-known one, Onna House (the name coming from the Japanese word for woman), highlights art by women, placing painting and sculpture alongside weaving and pottery. With “a complete focus on women,” Perry has been actively seeking new artists to acquire for Onna House. Currently, it holds the work of Mitsuko Asakura, Julie Wolfe, Leah Kaplan, Kelly Behun, and Candace Hill-Montgomery.

Earlier this year, the venue, which is open by appointment, mounted its first exhibition, “The Lightness of Being,” with work by five ceramic artists: Kaplan, Sabra Moon Elliot, Yoona Hur, Katherine Glenday, and Yuko Nishikawa, whose hanging works made from recycled and pulped photograph paper in pink and orange were a standout. For Perry, the opening salvo was a dedication to her mother, who in the 1970s ran a ceramics-focused gallery outside Chicago.

Perry is still thinking through what she’ll present at Onna House next summer, but so far “it’s been a complete gift.”

The Morgan Library & Museum in New York will open its much anticipated exhibition “She Who Wrote: Enheduanna and Women of Mesopotamia” on October 14. In a series of sculptures, cylinder seals, and translated clay tablets, “She Who Wrote” will celebrate the Mesopotamian High Priestess Enheduanna, the first-ever named author in all of humanity’s history.

“The Morgan has done exhibitions on Emily Dickinson, Mary Shelley, the Brontés, so I thought we should do an exhibition on the first-known author ever, who happens to be a woman,” Sidney Babcock, the Jeannette and Jonathan Rosen curator and department head of Ancient Western Asian Seals and Tablets at the Morgan, told ARTnews. “Most people don’t know that. It’s not celebrated. Why? School children know about Sappho, and she’s 1,000 years later for Pete’s sake!”

Daughter of Sargon of Akkad, the first ruler of the Akkadian empire of Northern Mesopotamia, Enheduanna was born more than 4,000 years ago. She was appointed to lead the cult of Nanna, a moon goddess worshipped in Sumer, a territory in the South of Mesopotamia that Sargon had conquered, and in her position as priestess wrote many hymns dedicated to goddesses.

“Her writings were copied for hundreds of years in the scribal schools,” said Babcock. In Mesopotamia, scribes were taught to write by copying hymns and myths that previous generations had written onto clay tablets.

The hymns of Enheduanna not only represent the first authored writing but the first example of the first person singular. In a hymn, Enheduanna describes a trial in which a usurper comes, throws her out of her complex, abuses her, and offers a dagger with which to kill herself. Thankfully, the goddess Inanna saves her, and she dedicates the song to her. Another hymn is the first-known example of the creative process being likened to birth. In the hymn, Enheduanna describes the birthing process, which starts with a lit fire in the nuptial chamber. She goes on to write:

“It’s not like any other city,” Mera Rubell told ARTnews, referring to Washington, DC. “To be bringing a collection that [my husband] Don and I built over the last 58 years to our nation’s capital is emotional. I have a lot of history with Washington. I was there for Martin Luther King Jr.’s march in 1963.”

Over a decade in the works, the Rubell Museum DC, which opens to the public October 29, is Mera and Don Rubell’s second private museum, after one in Miami. Housed in a building more than 115 years old, it will span 32,000 square feet. The architecture firm Beyer Blinder Belle is renovating the building, which was the home, until 1978, of the Randall School, a segregated junior high school for African American children in DC’s Southwest neighborhood. (Alumni include singer-songwriter Marvin Gaye.) The building joined the National Register of Historic Places in 2008.

“We tried to preserve as much of the character and spirit of the school as we possibly could, because there’s something very special about saving a building of that age and in that neighborhood and [with] that history,” Mera said.

Unlike the Miami museum, which has 20-foot-tall ceilings and loading bays, physical limitations may affect what kind of art DC can showcase. Mera sees it as an opportunity to highlight works in the collection that may not shine as brightly in the Miami branch’s more expansive environs. “Many of the spaces—classrooms, teachers’ offices—lend themselves to very intimate work. You can feel that history,” she said.

The building was at one point considered as a new home for the now defunct Corcoran Gallery of Art, which had purchased it from the District in 2006 for $6.2 million, and then sold it to the Rubells in 2010 for $6.5 million. The Rubells also own the Capitol Skyline Hotel, down the street, which provided shelter for unhoused people amid the pandemic. (As part of the acquisition, the Rubells are also developing a residential building with close to 500 units that will share a courtyard with the museum; one-fifth of those apartments have been set aside for affordable housing.)

Beyond buying pieces by Rashid Johnson, McArthur Binion, Deborah Roberts, Carmen Herrera, and Barbara Kruger, Philadelphia-based collectors Michael C. Forman and Jennifer Rice have spent much of the past year seeking to help the local arts scene, still ailing from the pandemic. In 2021, knowing that the city’s larger organizations would likely find a way out of economic distress, Forman and Rice focused their attention more directly on artists and on small and midsize arts institutions. They launched the Forman Arts Initiative, an organization that will oversee a grant program called Art Works, and another project to bring Theaster Gates’s Monument in Waiting (2020) to the Drexel University campus; the sculpture, a response to the removal of Confederate and colonial monuments, will remain there through July 2023. Other initiatives currently in the works include an artist residency program and public art commissions.

“We’re committed Philadelphians,” Forman told ARTnews. “This is not just an opportunity; we feel it is an obligation to give back. If Philadelphia is to recover post-pandemic, one of the real value propositions is arts and culture, and small and midsize institutions are so important to the fabric of the city and their neighborhoods.”

Administered in partnership with the Philadelphia Foundation, Art Works is a five-year, $3 million grant program that will give two-year grants to four local artists and four nonprofits, with a focus on BIPOC and other underserved communities. Organization grants (for those with budgets between $250,000 and $5 million) will range from $50,000 to $150,000, while artists will receive unrestricted grants of $50,000 over two years.

“We felt that the best way to support the community in Philadelphia’s neighborhoods would be to support BIPOC cultural organizations and artists,” Forman said. “We focused on what we saw as shortcomings in the city’s funding for arts and culture, and how we could best leverage our resources.”

Even before the onset of the pandemic, the Forman Arts Initiative brought together various stakeholders in Philadelphia’s arts community to “listen and learn about the challenges they face and the opportunities they saw for how our organization could be most impactful with our support,” he said. “We’ve always been of the view that the art is a shared resource.”

Marcus, Luke, Vish and Jim settle in for another blockbuster Barclays weekend off the back of more midweek madness.

We’ve realised that Pep Guardiola’s biggest fan is in fact Erik ten Hag - now that is Manchester, united. We also wonder if Brendan Rodgers’ envelopes can help them to a win over Bournemouth, check in with a miserly Everton defence and see if West Ham can lift their striker curse.

Got a question? Tweet us @FootballRamble and email us here: This email address is being protected from spambots. You need JavaScript enabled to view it..

Sign up for our Patreon for exclusive live events, ad-free Rambles, full video episodes and loads more: patreon.com/footballramble.

***Please take the time to rate and review us on Apple Podcasts or wherever you get your pods. It means a great deal to the show and will make it easier for other potential listeners to find us. Thanks!***

So why do book banners insist that they don’t ban books? Because the level of doubling down as book banning increases is, on one hand, impressive and on the other hand, is concerning about several key components of literacy.

Click through to see the Moms For Liberty member who cites BookLooks as a Moms For Liberty joint in order to get on a review team of a school library.

It’s the most wonderful time of the year — spooky season! I’m not usually one for seasonal decorating, but Halloween is the special holiday that gets me excited to pull out my skeletons and witch hats to spread the spine-chilling cheer. If you love books and the haunting magic of October 31, then these bookish Halloween decorations are just what you need to ring in the holiday spirit(s). We’ve got adorable, creepy, and downright jump-scare worthy home goods sure to fright and delight. And some of them may be so wonderful they make their way into your year-round decor!

The first section of these decorations are made of upcycled books reimagined as Halloween magic. From books carved into 3D art to gorgeous prints on old book pages, they’re a beautiful way of bringing new life to books that might have otherwise ended up in the trash.

If the idea of cutting up books or painting over their words makes you squeamish, scroll on by to see decorations inspired by the love of books and specific horror titles that have become Halloween classics. Edgar Allan Poe, Mary Shelley, and Stephen King’s works serve as some of the inspiration for these scarily wonderful decorations.

These book pumpkins can seamlessly make the jump from Halloween to Thanksgiving. $46+.

This book of spells comes with the witch built in! $36.