Tributes are paid to the artist who gave the city one of its most famous statues.
Laurence Broderick: Tributes to creator of Birmingham’s Bullring bull
Hairy paint, boozy sculpture and Michelangelo’s final years – the week in art
The Renaissance master dazzles, Rasheed Araeen goes for drinks and Peppi Botrop really mixes media – all in your weekly dispatch
Photography exhibit documents brutality of Navajo Livestock Reduction program
The federal government’s Navajo Livestock Reduction program in the 1930s drove the Navajo-Churro sheep to near-extinction, devastated the livelihoods of the Diné, and altered their economy and the governance of a matriarchal society in which livestock had traditionally belonged to women . Some historians refer to the livestock massacre as the second Navajo Long Walk. Others, like the Navajo Sheep Project led by Lyle G. “Doc” McNeal, Ph.D, call it an “animal holocaust.”
In the 1930s and 1940s, anthropologist Solon Toothaker Kimball interviewed members of several Diné communities about the slaughter. The reduction initiative — imposed on the Diné by John Collier, commissioner for the Bureau of Indian Affairs during the Franklin D. Roosevelt administration — was on a trajectory to kill more than half of the Diné livestock at the time, some 300,000 to 400,000 animals.
The official reason: to avoid further land erosion caused by overgrazing. The targets: goats, horses, and the Navajo-Churro sheep, the latter of which served as the base of Diné sustenance and traditional wool production and weaving.
These photographs by Snow were captured at Tolani Lakes (Leupp, AZ) in 1935-1936.
Navajo man and baby at Tosa Nos Pos [sic], AZ (Teec Nos Pos, AZ), 1935
Gallery: A photographer’s perspective around the block in downtown Auburn
Review | In the galleries: Mixing the macabre with views on mortality
Challenging conventional notions of death, depicting internal and frameworks in our lives, cabinetry with explicit messages, another view of car culture
Teresita Fernández’s Shifting Sculptural Landscapes
Also: Kamasi Washington, “The Outsiders” reviewed, Bang on a Can’s Long Play Festival, and more.
Ancient Female Ballplayer Makes Public Debut
The statue will be part of “Ancient Huasteca Women: Goddesses, Warriors and Governors” at the National Museum of Mexican Art in Chicago.
Photography Show Director Lydia Melamed Johnson’s Artists to Watch
As AIPAD’s Photography Show returns to New York City’s Park Avenue Armory in full force, Melamed Johnson lends her well-honed eye to Surface and shares the names to know from this year’s fair.
April 26, 2024
Credit: Courtesy of the Photography Show.
…
As New York City’s dizzying calendar of fairs, exhibitions, and cultural events has returned to peak calendar craziness, AIPAD has led the pack with a comeback to its longtime home at the Park Avenue Armory. The venue of choice for creatives on the cutting edge of arts—Justin Peck, Robert Icke, and Rashaad Newsome among them—is welcoming the fair back to its Gothic Revival halls following a post-pandemic hiatus from the venue. Fair director Lydia Melamed Johnson shared the news in an exclusive interview with Surface this past year, explaining that fellow organizers “knew the organization was ready to once again grow and inhabit such a distinct space” following two successful but scaled-down editions in 2022 and 2023.
Fast forward to today, and the fair is in full swing, showing the latest photographs and prints from 78 galleries and hundreds of exhibiting artists. It’s enough to make anyone’s head spin, so Surface tapped Johnson for her expert recommendations on the photographers she has her eye on as their star rises.
Artist Toshiko Okanoue, “Two Women.”
…
Toshiko Okanoue at The Third Gallery Aya
Toshiko Okanoue is an fascinating artist that I’d love more people to learn about. The surrealism inherent in the images and her mode of depicting femininity are beautiful and entrancing. Her work was rediscovered in the ‘90s after her practice was paused for many years, and it’s quite exciting to have The Third Gallery Aya present her work at the fair this year.
Marcia Resnick, “In her drama club, she would re-enact scenes from violent movies.”
…
Marcia Resnick at Deborah Bell Photographs
The narrative in Resnick’s work is playful, dark, and dramatic. It’s great to present a New York–based artist that has been inspired by the cultural scene in the city at a historically New York fair. To have a female artist put her own imprint on the violence historically acted upon female bodies in horror movies, long before the current mode of reconsideration and reckoning happening now, is important to witness.
Edward Weston, “Shells 6S.”
…
Edward Weston at Scott Nichols
Gifted to the art critic for the L.A. Times, from Weston. According to Weston’s log, only six vintage prints were done. Pictured on the cover of Amy Conger’s Edward Weston book. The classic beauty of Edward Weston’s work is iconic and deeply AIPAD. He shaped American photography, and I can’t wait to see this rare, vintage print.
Marilyn Minter, “Goldi.”
…
Marilyn Minter at CLAMP
The power, grit, and glamour in this image is captivating. Minter never digitally manipulates her photographs, and the way she explores gender and sexuality through her distinctive style always challenges the viewer.
Simone Rosenbauer, “Like Ice in the Clouds (Japan) No129.”
…
Simone Rosenbauer at Laurence Miller Gallery
Simone Rosenbauer is a young artist that I’m looking forward to seeing at Laurence Miller Gallery. This work is part of a series called Like Ice in the Clouds, which depicts ephemerality through the melting of Popsicles. The colors are lush, and I enjoy the use of such a simple, childish motif to capture time.
Dieter Appelt, “Der Fleck auf dem Spiegel, den der Atemhauch schafft (The Mark on the Mirror Made by Breathing).”
…
Dieter Appelt at Les Douches la Galerie
It appears both I and our galleries are leaning into Surrealism this year. As a motif for today’s deep, necessary investigations of self and the construction of society around us, it seems only fitting.
Jaromír Funke, “Untitled,” from the series Cas trvá (Time Persists).
…
Jaromír Funke at Gitterman Gallery
A gorgeous, enigmatic image that immediately captures your attention from an artist I’ve only recently discovered through Gitterman Gallery’s fantastic program.
Tim Walker, “James Crewe, Fashion: Valentino Haute Couture.”
…
Tim Walker at Michael Hoppen
A dress and a dream I’d love to live in for a moment. Tim Walker’s photographs are escapist fantasies I want to get lost in. I’m looking forward to seeing its unique, domed presentation in person.
Alma Haser, “Rhodanthemum.”
…
Alma Haser at Candela Gallery
Artists playing with the medium with three-dimensionality add new layers (wink wink) to photography. I enjoy the experimentation and playfulness of Alma Haser’s work, with its sculptural and voyeuristic quality that seems, on the surface, to be simply floral.
Previous Next
Baskets Holding the Identity of an Indigenous People
The baskets of Jeremy Frey from the Passamaquoddy tribe in Maine have caught the attention of the art world.
This article is part of our Museums special section about how institutions are striving to offer their visitors more to see, do and feel.
Long before painters such as Winslow Homer and Andrew Wyeth arrived in Maine to capture its spectacular natural beauty on canvas, the native Wabanaki people used materials from the landscape to weave black ash and sweet grass baskets, the oldest continuously practiced art form in the state.
“It’s said that our cultural hero, Glooskap, fired an arrow into the black ash tree and our people came dancing out — it’s tied to us,” said Jeremy Frey, a 45-year-old, seventh-generation basket maker from the Passamaquoddy tribe, one of several in the Wabanaki Confederacy.
Frey’s vibrant and innovative baskets — remarkably contemporary forms woven with ancestral knowledge — have caught the attention of the art world and put him at the forefront of a wave of interest from museums, galleries and collectors in the work of Native artists. (This month, Jeffrey Gibson is the first Indigenous artist to have a solo exhibition in the U.S. Pavilion at the Venice Biennale.)
“There was this hierarchy that still sometimes exists within the museum practice of what is art, what is craft, who is an artist,” said Jaime DeSimone, chief curator of the Farnsworth Art Museum in Rockland, Maine. She was a co-organizer of “Jeremy Frey: Woven,” the first solo exhibition of a Wabanaki artist at a fine art museum in the United States. The show will be on view from May 24 to Sept. 15 at the Portland Museum of Art in Maine.
The show, a retrospective spanning Frey’s career of more than two decades, includes 50-plus baskets and will travel to the Art Institute of Chicago — one of several major institutions to have recently acquired Frey’s work for their permanent collections — and the Bruce Museum in Greenwich, Conn.
DIVE’s Big Shot – Caves, Caverns and Overhangs
Our next Big Shot underwater photography competition starts now – send us your best shots from caves, caverns and overhangs for the chance to win an Aggressor Adventures liveaboard trip to Thailand
Our Big Shot underwater photo competition continues to be a great success, with some absolutely stunning photographs entered into previous iterations of the contest.
For the Summer 2024 issue of DIVE, we’re asking you to send us your best shots taken from the caves, caverns and overhangs of the underwater world. The best pictures will be printed in the magazine, with the overall winner rewarded with a seven-night trip to the Similans on board the Thailand Aggressor, (worth $3290) courtesy of Aggressor Adventures (flights not included).
The deadline for entries is midnight (GMT) on Sunday, 26 May 2024. Check out a preview of the Thailand Aggressor here.
Previous competition winners:
How to enter:
- Submit your images (minimum 1, maximum 10) using the form below, AND:
- Tag your shots on Instagram with: #DIVEsBigShotCaves @AggressorAdventures @Divemag OR
- Tag your shots on Facebook with: #DIVEsBigShotCaves @AggressorAdventures @DigitalDive OR
- Tag your pics on X with: #DIVEsBigShotCaves #AggressorAdventures @DiveMagazine
- You can submit a maximum of 10 pictures to the competition, but you can only use the form once, so make sure you submit them all together; you can’t upload them one after the other.
- That’s it! Note that the photos are moderated so may take up to 24 hours to appear in the gallery.
Important Information – please read!
- Please read the terms and conditions carefully before entering.
- You must be the original photographer and copyright holder of the picture you submit
- You must have access to high-resolution original versions of the pictures you submit
- Entering will subscribe you to our free, weekly newsletter (you can unsubscribe at any time)
- Your details will be shared with Aggressor Adventures (but no other third party)
- Problems with your entry? e-mail info@divemagazine.com
DIVE’s BIG SHOT CAVES CAVERNS AND OVERHANGS Photography Competition Terms and Conditions
By entering this competition; entrants agree to be bound by these rules.
- The competition opens on 26 April 2024 at 11:00am and closes on 26 May 2024 at 23:59 (BST)
- The best images will be selected by the judges for publication in the Summer 2024 issue of DIVE. One image will be selected as the overall winner by the judges and the overall winner will receive an Aggressor Adventures liveaboard trip to Thailand
- The judges’ decision is final; no correspondence will be entered into.
- The prize is a week’s trip for one person aboard the Thailand Aggressor on dates to be agreed with Aggressor Adventures.
- Flights are not included; prize winners are responsible for their own transport to and from Phuket, Thailand.
- Local taxes, visas, health requirements and travel insurance are the responsibility of the prize winner.
- Included: accommodations in a shared deluxe stateroom (with person of same gender), diving and snorkeling, compressed air tanks, weights and weight belts, all onboard chef-prepared meals and snacks, non-alcoholic beverages and sodas, and local beer and wine
- Not Included: Airfare (international and domestic), insurance, equipment rentals, nitrox fills, certification or specialty courses, hotel stays, day rooms, dinner on last evening, staff gratuity, port/park fees, fuel surcharges, transfer, or taxes.
- All entrants submitting a photograph that is selected for publication will receive one year’s digital subscription to DIVE Magazine.
- Participating in this competition will subscribe the entrant to DIVE’s weekly newsletter. The newsletter, which contains a weekly digest of articles, plus news of special offers and competitions is completely free of charge, and can be unsubscribed from at any time without penalty. No data will be shared with any third party except Aggressor Adventures (see below)
- The name and e-mail address of all entrants to all of DIVE’s Big Shot competitions will be shared with Aggressor Adventures.
- Prizes are non-transferable, and there is no cash alternative.
- DIVE Magazine, and all partners involved cannot accept any responsibility for any damage, loss, injury or disappointment suffered by any entrant entering the competition or as a result of accepting any prize.
- Entrants agree on their behalf, and on behalf of their respective heirs, executors, administrators, legal representatives, successors and assigns (‘Released Parties’) to release, defend and hold harmless DIVE magazine and Aggressor Adventures, and any partner involved, as well as the employees, officers, directors and agents of each, from any and all actions, causes of action, suits, expenses, lost profits, indirect or direct damages, consequential damages, incidental damages, punitive or exemplary damages, judgments, claims and demands whatsoever against Released Parties arising out of or in connection with entrant’s participation, acceptance and use or misuse of any prize, including any travel-related activities.
- All the photography must be the work of the entrant and the entrants must have full rights for the use of any photograph. All images must be available in high resolution (300 dpi minimum) and must be supplied as a JPEG file on request.
- The entrants agree to give DIVE magazine non-exclusive rights to submissions of photographs for the purposes of promotion of the competition in print and online.
- The laws of England and Wales govern this agreement.
