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Rafiq Bhatia and James Turrell’s “New Light” | National Gallery of Art

http://www.nga.gov/stories/sound-thoughts-art/rafiq-bhatia-and-james-turrells-new-light

Musician Rafiq Bhatia feels compelled to capture his improvisations—fleeting moments of sound—in recordings. Like sound, light is transient. But James Turrell’s works, which inspired Bhatia’s composition, contain and present light, allowing us to forge a deeper relationship with an ephemeral substance.
But above all else, it is this recontextualization of a medium or a substance being

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Green River Cliffs, Wyoming by Thomas Moran

https://www.nga.gov/artworks/82648-green-river-cliffs-wyoming

In June 1871, Thomas Moran, a gifted young artist working in Philadelphia, boarded a train that would take him to the far reaches of the western frontier and change the course of his career. Just a few months earlier he had been asked to illustrate a magazine article describing a wondrous region in Wyoming called Yellowstone—rumored to contain steam-spewing geysers, boiling hot springs, and bubbling mud pots.
conjuring instead an imagined scene of a pre-industrial West that neither he nor anyone else

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The Tub by Edgar Degas

http://www.nga.gov/artworks/66446-tub

Degas exhibited only one sculpture during his lifetime, the wax Little Dancer Aged Fourteen , at the Sixth Impressionist exhibition in 1881 (that statuette is now in the National Gallery of Art). Many critics reacted with shock to its subject, which they found harshly realistic and even ugly, and to its unconventional incorporation of actual, rather than sculpturally imitated, fabric and hair.
figures on makeshift armatures reinforced with brush handles, matches, or whatever else

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Celeste Headlee and James Van Der Zee’s “Couple, Harlem” | National Gallery of Art

https://www.nga.gov/stories/sound-thoughts-art/celeste-headlee-and-james-van-der-zees-couple-harlem

In this photograph, journalist and musician Celeste Headlee hears Lenox Avenue, a suite her grandfather William Grant Still named after Harlem’s main street. This portrait captures the pride of Black Americans achieving success during the Harlem Renaissance despite systemic injustice. 
It’s just someone else is writing the rules.

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