Artsolido

Marcel Duchamp at MoMA: The Friend, the Enemy, and the Man Who Broke Art

There are artists we admire, artists we study, artists we imitate, reject, or quietly steal from. And then there is Marcel Duchamp, an artist with whom almost every contemporary artist, critic, curator, and museum visitor maintains some kind of unresolved relationship: a debt, a war, a love story, or perhaps simply an accusation that has never fully disappeared. Walking up the escalators to the sixth floor of the Museum of Modern Art, toward the monumental retrospective Marcel Duchamp, I felt strangely nervous, almost as if I were about to encounter an old friend I had betrayed, or perhaps an enemy who had changed my life forever....

Marcel Duchamp at MoMA: The Friend, the Enemy, and the Man Who Broke Art There are artists we admire, artists we study, artists we imitate, reject, or quietly steal from. And then there is Marcel Duchamp, an artist with whom almost every contemporary artist, critic, cur…

https://www.facebook.com/share/1BS77SMXAE/?mibextid=wwXIfr

Boris Rozas y de cómo Wes Borland aprendió a tocar de oído | Café con Letras Boris Rozas y de cómo Wes Borland aprendió a tocar de oído abril 28, 2026 Contenido patrocinado·Libros 4 minutos de lectura Por Hugo García Michel Wes Borland es un músico singular, un artista peculiar. El guitarrista del grupo estadounidense Limp Bizkit -y de otros proyectos- se ha distinguid...

In New York, Everything Is for Sale, Even the Serious Things

A Selfie of Artexpo New York and the Shifting Soul of the Art Fair The first work you encounter arrives almost by accident. Or maybe not. You stand in front of it longer than expected. You look. You examine. And then the question comes, quietly, almost with suspicion: what is this doing here? Is it lost? Has it wandered into the fair by mistake?...

In New York, Everything Is for Sale, Even the Serious Things A Selfie of Artexpo New York and the Shifting Soul of the Art Fair The first work you encounter arrives almost by accident. Or maybe not. You stand in front of it longer than expected. You look. Yo…

A Garden of Flesh and Visions at Stephen Street Gallery

There are exhibitions that present works, and there are those that construct environments. Spectral Gardens, the two-person exhibition of Beca Acosta and Lena Hawkins, curated by Sally Beauti Twin at Stephen Street Gallery, belongs unmistakably to the latter. It is not merely a juxtaposition of sculpture and painting. It is an ecosystem. One that breathes, mutates, and quietly unsettles....

A Garden of Flesh and Visions at Stephen Street Gallery There are exhibitions that present works, and there are those that construct environments. Spectral Gardens, the two-person exhibition of Beca Acosta and Lena Hawkins, curated by Sally Beauti Twin …

El vallisoletano Boris Rozas vuelve con un poemario de despertares y pérdidas La editorial Art-Sôlido lanza ‘Wes Borland aprende a tocar de oído’, Premio Internacional de Poesía Juan Ramón Jiménez

Still Here: Autobiografía secreta de Nueva York

Hay muchas maneras de recordar a alguien en Nueva York.Un edificio puede llevar su nombre.�Una biblioteca puede dedicarle una sala.�Un museo puede colocar una placa en la pared. Pero en Central Park la memoria adopta una forma más sencilla —y quizá por eso más humana—: un banco.Sentado frente al lago, bajo los olmos de The Mall o mirando el flujo interminable de la Quinta Avenida, el visitante puede encontrar una pequeña placa de metal con apenas unas palabras....

Still Here: Autobiografía secreta de Nueva York Hay muchas maneras de recordar a alguien en Nueva York.Un edificio puede llevar su nombre.
Una biblioteca puede dedicarle una sala.
Un museo puede colocar una placa en la pared. Pero en Central Par…

Path to Liberty: The Revolution Seen from 250 Years Away

There are museums where history is displayed, and others where it seems to have never left. Fraunces Tavern belongs to the second category. You walk in from the financial district — glass towers, coffee in paper cups, phones vibrating — and suddenly the eighteenth century refuses to stay in the past. Wood floors creak with intention. The air feels narrated....

Path to Liberty: The Revolution Seen from 250 Years Away There are museums where history is displayed, and others where it seems to have never left. Fraunces Tavern belongs to the second category. You walk in from the financial district — glass towers, c…

Thomas Gainsborough and the Power of Fashion

Identity, status, and self-invention at The Frick Collection With its recent reopening and newly expanded galleries, The Frick Collection has achieved something rare in New York: it feels at once renewed and unchanged. The exhibition and these spaces make the Frick perhaps the newest of the old museums of the city, a place where restoration has not erased memory but sharpened it....

Thomas Gainsborough and the Power of Fashion Identity, status, and self-invention at The Frick Collection With its recent reopening and newly expanded galleries, The Frick Collection has achieved something rare in New York: it feels at once r…

El Benito Bowl

El artista puertorriqueño Bad Bunny, tras cancelar sus giras en Estados Unidos en medio del clima político marcado por las deportaciones, terminó siendo elegido para el Halftime Show del Super Bowl LX. Money talks y Bunny canta. El Conejo Malo estaba ahí,en el evento más estadounidense posible. Bad Bunny cantó en español frente al espectáculo televisivo más grande del país, llevando a Puerto Rico al centro de la narrativa cultural estadounidense....

El Benito Bowl El artista puertorriqueño Bad Bunny, tras cancelar sus giras en Estados Unidos en medio del clima político marcado por las deportaciones, terminó siendo elegido para el Halftime Show del Super Bowl…

Josef Albers’s Manhattan

Before arriving in America in 1933, Albers had been teaching at the Bauhaus, where precision was a moral value and materials were treated as language. In 1928 he experimented with sandblasting and stenciling on glass, learning that geometry could behave like light. When the school closed under political pressure, he carried that discipline across the Atlantic to Black Mountain College, where the American landscape entered his thinking—not as nature, but as structure....

Josef Albers’s Manhattan Before arriving in America in 1933, Albers had been teaching at the Bauhaus, where precision was a moral value and materials were treated as language. In 1928 he experimented with sandblasting and …