Morning Links: Vexillology Edition - Recent News from USA
Morning Links: Vexillology Edition -

Morning Links: Vexillology Edition –

Philippe Jacques de Loutherbourg, Standing Solider Holding a Rolled Flag, 1755-1771.



An artist in Mississippi whose family includes a segregationist past has proposed a new state flag without the Confederate stars and bars. “After self-study in vexillology—the art of flag design—and a lot of erasing, Stennis settled on the circle-star design. The 20 stars represent Mississippi’s entry into the union as the 20th state; the blue star on the white background is an inversion of the white star on a blue field of ‘Bonnie Blue Flag,’ which was waved when the state seceded.” [The Washington Post]

“Commissioned by LACMA to celebrate ‘Two Centuries of Black American Art,’ this lithograph”—a striking work by Charles White—“was so popular that it became a sold-out fine art print as well as a poster for the 1976 exhibition.” [LACMA Unframed]

San Francisco

In case you missed it over the three-day weekend, read a report from two San Francisco art fairs—FOG and Untitled—that got the Bay Area buzzing. [ARTnews]

And check out a newly renovated church now serving as an immaculate art space there. [ARTnews]


Hauser & Wirth gallery now represents Mika Rottenberg. [ARTnews]

Artist John Mason, a Los Angeles luminary, died at the age of 91. [Albertz Benda]

Artist Rezi van Lankveld is now represented by the Belgian gallery Office Baroque. [Office Baroque]


“The Metropolitan Museum of Art in New York is re-assessing its gift acceptance policy in light of the ongoing controversy involving the Sackler family, long-time donors to the museum, and the financial ties of some members of the family to the sale of the opioid OxyContin.” [The Art Newspaper]

“Munich’s beleaguered Haus der Kunst, forced to cancel exhibitions because of financial woes and lacking an artistic director since Okwui Enwezor left in June last year, has appointed an expert commission to oversee programming and strategy for the next two years.” [The Art Newspaper]


On the occasion of a Tate Modern show, Guardian art critic Adrian Searle calls Pierre Bonnard “monumental, monstrous—and rubbish at dogs.” [The Guardian]

“The quandary at the heart of The Price of Everything, the art world documentary recently acquired by HBO, is summed up in a scene with the great German artist Gerhard Richter. Gesturing to one of his own paintings, Richter explains, ‘It’s not good when this is the value of a house. It’s not fair. I like it, but it’s not a house.’” So begins an essay with the title “Poons vs. Koons.” [The New York Review of Books]

Robert Pruitt’s new show at the California African American Museum got a good review from the L.A. Times. Of a drawing in the exhibition, Leah Ollman writes, “Identity is evolving and empowerment happening right there on the page.” [Los Angeles Times]

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