|
|
|
International Art Stories |
|
|
|
March / April Editorial Preview |
|
|
| As an artist, I have created a series of work that manipulates various media. I want to produce a visual representation of global concerns. Using both Asian and European traditions, I explore the essence of landscape and nature. My work reflects the impossibility of a truly detached, objective perspective on the world. It suggested a perpetual meditation on the experience through a constant recourse to logical abstractions, and the relentless action of an impassioned imagination. The works are, as a consequence, inherently ambivalent, settling for a tentative balance between distortions of perception, never claiming to approach anything more concrete than this uneasy relationship.
Truth, for my work, is not a fixed entity but rather an evolving product of the dialectic between these polarities. My installations explore paradoxes of representation and reality. |
|
|
|
Read more...
|
|
|
|
| “Photography is the new painting,” said Edda Jonsdottir, director of i8 gallery in Reykjavik, Iceland. With this somewhat provocative sentence in mind, in June 2000, I started my ongoing series The New Painting. I use contemporary means of expression—large-format color photography—but owe a lot to the aesthetics of classical figurative painting. With the camera I try to approach those same problems that painters have been dealing with for centuries: light, color, composition, figures in space, and the projection of the three-dimensional into the two-dimensional. I find these questions fundamental in all visual arts. The subject matters come from my close surroundings, such as where I
live or travel, and with whom I share my time. The images fall into two
categories: landscapes and the human figure.
|
|
|
|
Read more...
|
|
|
|
Acknowledged as one of the most highly regarded artists in South Africa, Jane Alexander is also one of the most reticent, taking the position that her work must make its own statement. Alexander is an artist whose talent was clearly apparent from the start. Her piece Butcher Boys is the most popular contemporary piece in the collection of the South African National Gallery, and chosen by Jean Clair for his show Identita e Alterita (Identity and Alterity) in the Palazzo Grassi at the 1995 Venice Biennale. Butcher Boys was made while Alexander was still doing her master’s degree at the University of Witwatersrand.
|
|
|
|
Read more...
|
|
|
|
I am interested in the mode of image-making that recognizes and allows for the mind’s movement toward association. I am currently involved with a time-based project that explores an abstracted narrative. The work emerges from a commitment to the daily practice of automatist drawing. The Tiles Project (2002 to the present) is a time-based drawing project. Taking a cue from the Surrealist game, exquisite corpse, I make daily automatist drawings on painted and sanded grounds that I prepare as blanks on square wood panels.
|
|
|
|
Read more...
|
|
|
|
|
January / February Editorial Preview |
|
|
A proclivity for contradiction is evident in Steven Foy’s recent solo exhibition, The Arrangement Series, at the Broadway Gallery. A minimalist whose economic use of geometric shapes elicits a vocabulary of the nuance, a brilliant colorist with a penchant for discreet shades of gray, an abstract painter whose subject matter is the failure of abstraction, Foy is an artist who inhabits the discreet space of the in-between, a logic of the a-logic, where essential orders or arrangements are haunted by death.
|
|
|
|
Read more...
|
|
|
|
I like to think of my recent work as a Frankenstein-like stepchild of the Hudson River School. Thomas Cole and his companions used to hike the Catskills with sketchbook in hand returning home to assemble landscapes of the sublime. I lug a backpack full of expensive technology to capture fragments of nature, and then sit behind a computer screen to seam the scraps together into large, threatening behemoths. Sure, my Frankensteins bear only the faintest family resemblance to their splendent pictures.
|
|
|
|
Read more...
|
|
|
|
| The “landscape” is a metaphor. The work is in progress, and it points to a task that is never finished. There are many layers of meaning and complexity in The Painter’s Studio. Courbet’s vision of the world shows itself twice over, with a small painting in progress within a large painting, also a work in progress. The artist, the citizen as poet or the poet as citizen, speaks and stands alone, assuming responsibility for the vision. The Painter’s Studio makes evident the interaction between artist and society, whether visitors are attentive or distracted. The artist must keep working and share what is discerned of the world. In an ongoing process, the artist is always naked, and has no place to hide. The development is always in public.
|
|
|
|
Read more...
|
|
|
|
| Broadway Gallery recently presented Wappen Field: Work in Progress by sculptor Michelle Jaffé. At this evolutionary stage of its development, the installation has six suspended chrome plated steel cutaway helmets with speakers in the top of each providing sound. The empty space below each helmet implies where a body would be. Taken as a whole, the work creates an eerily suggestive, ghostly experience. With Wappen (German for “coat of arms”), the installation can be viewed from two basic perspectives—seeing it as one unified sculptural piece, or instead, placing one’s head into any of the snug-fitting helmets and looking out its eye slit to see a constrained vista of the surroundings and feel a bit claustrophobic. This visceral effect suggests Wappen as an allusion to the dizzying feeling of a narrow way of seeing the world.
|
|
|
|
Read more...
|
|
|
|
Tips & Picks Featured Artists
 |
Captivated by the essence of interfaces-between cellular connections and
the trivialities that determine physical boundaries. |
|
|
Read more...
|
|
 |
My work has always been a combination of personal stories that reveal societal attitudes related to race and gender, |
|
|
Read more...
|
|
 |
The Great works of Art are reflecting not only our impressions about them, but the deepest wishes, which are following every human being. |
|
|
Read more...
|
|
 |
I grew up in Western Jutland, near a river, with its water flow and transport running all the year round. |
|
|
Read more...
|
|
 |
Giuseppe Denti was born in Cremona (Italy). A painter and engraver, he has recently turned his interests toward sculpture.
|
|
|
Read more...
|
|
 |
“Radu Comsa seems to distance himself of any obvious feeling, as a furious rationalist who is hiding an extreme sensibility. |
|
|
Read more...
|
|
|
|
|
|
