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For some, there may not be much beauty in post-industrial North Brooklyn. But above the rumbling trucks, the rising rents, the tragic hipsters, and the fashions gone awry, there is something truly captivating.
A crisp wind pushes the smog off to Oakland as evening descends on Valencia Street. Swank SUVs double park awaiting valets, as confident blond girls in Capri pants and their khaki clad men mob the sidewalks, ramping up for another night of wining, dining and loud talk.
Art In Conversation
Dr. Robert Hobbs is the curator and author of the exhibitions catalogue on Lee Krasners work. His books include: Milton Avery, Edward Hopper, and Human Right/Human Wrongs: Art and Social Change.
Like Frida Kahlo, Lee Krasner painted in the shadow of her more notorious husband. Only recently, in the wake of the Kahlo phenomenon of the 1980s, have artists such as Susan Rothenberg and Nancy Rubin begun to acquire critical status independent of their husbands (the artists Bruce Nauman and Chris Burden, respectively).
Frank McDonald, long-time environmental correspondent and architecture critic for the Irish Times, begins his book with the claim that Dublin currently finds itself at a very critical turning point in its history, mainly because Irelands booming economy has generated a maelstrom of activity.
He wheeled the car around past the tight corner on which the tables and chairs stood and stepped on the gas, moving quickly past the café and into the thick traffic, copying the rapid feints and slides of the other automobiles.
Aside from several Italian horror movie directors, most folks might not consider Brooklyn a cinematic city. But fortunately for us, directors like Walter Hill, John Badham, Nick Gomez, Spike Lee have seen fit to represent for the rest of us.
It is always refreshing to discover that someone you thought you knew a little bit turns out to be larger, more complex, and infinitely more courageous than you ever imagined: this is especially true when said revelation is delivered through an act of creation.
These are Dickensian times in the arts world. Across the boroughs, grand new art centers are being planned, opened, and expanded, but meanwhile, here in Williamsburg at least, artists are being evicted at an alarming rate.