![]() Like the Waters We Rise Installation view, Like the Waters We Rise (image courtesy Molly Garfinkel and Raquel de Anda) ![]() The Ecuadorian artist and community organizer presents more than 50 mixed-media works that transform recycled materials into colorful, nostalgic abstractions - a process she developed during her family’s migration to Southeast Queens. Where: Jamaica Center for Arts and Learning (161-4 Jamaica Avenue, Jamaica, Queens) Angela Miskis: It’s a Luxury to Look Back Angela Miskis, “Nine Years to Say Goodbye” (2022) (image courtesy Jamaica Center for Arts and Learning) His archives, part of the Newark Museum’s larger summer program on jazz history, portray the public and private labor that the legendary singer put into her short but triumphant career. New York photojournalist Jerry Dantzic captured Lady Day’s residency at a Newark, New Jersey nightclub in 1957. Where: Newark Museum of Art (49 Washington Street, Newark, New Jersey) ![]() Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic Billie Holiday holding her pet Chihuahua, Pepi, in front of Sugar Hill, Newark, New Jersey, Ap(photo by Jerry Dantzic, courtesy Newark Museum of Art/Cultural Counsel) Designs by 35 living artists show how the art form challenges normative conceptions of race, class, and gender all over the world. Where: Museum of Arts and Design (2 Columbus Circle, Hell’s Kitchen, Manhattan)Ī contemporary survey of avant-garde costuming details its continued political relevance. Garmenting: Costume as Contemporary Art Installation view of Zoe Buckman, “Every Curve” at Papillon Art, Los Angeles (image courtesy the artist and the Museum of Arts and Design) Sculptures and paintings by Margaret Chen, Andrea Chung, Wendy Nanan, and Kelly Sinnapah Mary address the rise of migrant labor after slavery, in which indentured servants from Asia were forced into similar, albeit lesser-known, forms of subjugation. Where: Ford Foundation Gallery (320 East 43rd Street, Midtown East, Manhattan) everything slackens in a wreck Kelly Sinnapah Mary, “Notebook of No Return: Memories” (2022) (photo by Sebastian Bach, courtesy Ford Foundation) Shared lineages unfold across a sprawling set of elaborate prints, textiles, and drawings from throughout design history, subverting Euro-American notions of artistic mastery. Where: The Drawing Center (35 Wooster Street, Soho, Manhattan)Ī new ornamental art exhibition reconsiders how decoration shapes perceptions of power and prestige. 1815) (Gift of Ralph Esmerian, Sotheby’s, courtesy American Folk Art Museum/Art Resource, NY and the Drawing Center) It needed to age well, hence the rough band-sawn finish of both the kitchen units and the floor.The Clamor of Ornament: Exchange, Power, and Joy from the 15th Century to the Present David Kulp, “Presentation Fraktur of a Double Eagle” (c. 'Hinges are exposed and the drawers are oak boxes in oak frame,' Jonathan points out. John Knuckey of Knuckey Furniture created a white-stained sandblasted-ash table for everyone to pile around at dinner, lit by Secto pendant lights. It needed to age well, hence the rough bandsawn finish of both the kitchen units and the floor. Handmade by Devon based furniture maker James Verner, it was designed to be robust and forgiving of holiday life and sandy feet, with open shelving on the walls on which to display pieces found on their travels. The original intention was that the island would be zinc, but it proved difficult to have made, so stainless steel was used instead. In honour of this the long kitchen island is more seafood bar than kitchen work surface, enabling everyone to gather round. ![]() 'The owners gave us a very clear idea of how their holidays worked and we knew there needed to be space for mountains of seafood to arrive, and for everyone to join in preparing it,' says Jonathan. The English owners of this picture perfect beach house on Cap Ferret, near Bordeaux enlisted the combined efforts of local builder Guy Allamand and London architect Jonathan Tuckey.
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