Karl Wirsum, Through the Crack in My Head I Heard Someone Call My Name, 1987, acrylic on canvas, 44.75 x 50.75 x 2 inches.
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Karl Wirsum, Through the Crack in My Head I Heard Someone Call My Name, 1987, acrylic on canvas, 44.75 x 50.75 x 2 inches.

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Georgina Hay, Plant study #8, 2017, color photograph.
Wendy Red Star. Top: iilaalĂŠe = car (goes by itself) + ii = by means of which + dĂĄanniili = we parade, lithograph, 24 x 38 in. Bottom: Spring, 2006, color photograph. From the series âFour Seasons.â
Penelope Umbrico, For Sale / Televisions from Craiglist, 2008â2011, thirty-five digital c-prints mounted to aluminum, 11" x 17" each.
Nobuaki Takekawa, Club Burning-Hell, 2015, acrylic on canvas.

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Yuri Masnyj, Life in Cities: Self Help, Condo Development, Task Management, 2016, graphite, watercolor, acrylic paint, colored pencil, ballpoint pen, and correction fluid on paper, 38 x 28.5 in.
Monday morning.
On This Day in 1936, painter Arthur Dove recorded the dayâs weather.Â
 Art historian Rachel DeLue demonstrates the importance of reading Doveâs diaries in conversation with his artwork in the Spring 2016 issue of the Archives of American Art Journal: âDiaries are equally things to be visually investigated, unpacked, and thought critically about. And this looking and thinking leads, in Doveâs case, to the realization that certain ideas, investments, and motifsâamong them circles, music, metal, electricity, radio, and the weatherâunfold across the whole of his production, from his letter writing and diary keeping to his poetry, prose, painting, and sculpting.â
Waldemar Cordeiro, IdĂŠia VisĂvel, 1956.

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Roger Duvoisinâs cover for the June 13, 1953, issue of The New Yorker.
Letterpress posters by Amos P. Kennedy Jr., bookmaker, journeyman printer, and Alabaman.
LĂŠon Bakst, May (costume study for La Nuit ensorcelĂŠe), 1923, graphite and watercolor on paper; Etude de motif, 1923â24, gouache on paper.
Richard Tuttle, Lable 5-8, 2003, suite of four etchings with aquatint, spitbite, sugarlift, softground, and fabric colle, 16 x 16 in.Â
Caroline Sury

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Njideka Akunyili Crosby, 5 Umezebi Street, New Haven, Enugu, 2012, acrylic, charcoal, pastel, color pencil and transfer on paper, 7 ft. x 8.75 ft.; Her Widening Gyre, 2011, charcoal, acrylic, collage and xerox transfers on paper, 6 ft. à 4.5 ft.
The handmade, low-fi quality of the bookâbits of cutout paper welded together, the pulpy newsprint on which it is printedâis sympathetic to the titleâs reference to a manual mechanism that has been superseded by a more technologically advanced version, the vacuum cleaner. That notion of irrelevance plays out in the stories in the various ways men behave toward women. In one story, a man pursues a womanâs affections; she demurs, uncertain of his proposal. âI am Dust-Resistance for you. Me Clean âMagicâ carpet love,â he purrs. âWhen a woman Carpet Sweeper,â she sighs, trailing off. And later (and elsewhere in the book), she exclaims, âFord you sweepmaster!â In the language of domesticity and commodities Doucet employs, this becomes an ultimate statement: a man can be a sweepmaster, but women regularly are made to feel like carpet sweepers. (The phrase carpet sweeper and its shabby connotations reminds me of Bashmachkin, the bullied clerk of Gogolâs âThe Overcoat,â whose name means âcarpet slipper.â) Read more.