Tucked into one of the many galleries of Mana Contemporary, a tobacco warehouse now repurposed as a creative hub in Jersey City, Global Alt Comics, on view at Scott Eder Gallery and curated by Alessandra Sternfeld, showcased work by seven female cartoonists and one queer cartoonist. Staples of the American underground, Mary Fleener and Trina Robbins, rising stars Lauren Weinstein and Gina Wynbrandt, voices of the international comics scene, such as Colombian-Ecuadorian Power Paola, Australian Tommi Parrish, and Catalan Conxita Herrero, and memoirist Gabrielle Bell, all found a spot in this exhibition, whose title was originally supposed to be “All Girl Thrills” after an all-female anthology edited by Robbins, sketches of which were also on view.
Few photographers have taken as many iconic photographs as Don McCullin (b. 1935). Think of the Vietnam War, and Shellshocked US Marine, The Battle of Hue (1968) will very likely pop up.
As curators Martino Stierli and Vladimir Kulić illustrate, in Tito’s Yugoslavia, architecture was not only viewed as a way to reconstruct a physically ravaged country, and promote Pan-Slavic identity; it was also believed to be capable of making the abstract idea of a better society tangible.
Since his death in relative obscurity in 1827, William Blake has experienced a continuous revival that has turned him into a sort of artists patron saint, or as DJ and producer Martha Pazienti Caidan calls him, perhaps half-cheekily, a pioneer of slasher culture.
When Nothing Personal first came out in 1964—just months after the passage of the Civil Rights Act and the assassination of President Kennedy—it was meant by its authors, the photographer Richard Avedon and the writer James Baldwin, as a blow to American myths and lies which, in their view, concealed a wasteland of loneliness and despair.