Kelly’s collaged postcards provide an awareness of both his sense of humor and his sense of place.
In the eyes and minds of Black America the two professions of medicine and law sit at the apex of respect, envy, and essentiality – as well they should. In my book, African American Architects: Embracing Culture and Building Urban Communities, 2020 (and several published summarizing articles) I...
The constructed photographs of Lauren Marsolier seem to be every where these days and with the launch of her new book, Transition, published by Kerber Verlag, she has numerous solo exhibitions on the horizon including showing in Paris, from November 15, 2014, to January 9, 2015, at Galerie Richard, 74 rue de Turenne, in New
Anni Albers (1899-1994) combined the ancient art of hand weaving with abstract art. Born in Germany, she was introduced to the art of hand weaving at the Bauhaus. She met her future husband there and they moved to the USA in 1933 when Nazism closed the Bauhaus. She experimented with pattern and texture and began to produce woven work to be framed and displayed on a wall. An exhibition of her work has just been on display at the Tate Modern in London. Here are a few of the exhibits This is named the six prayers and is on loan from The Jewish Museum, New York Anni Alber's eight harness 750 loom
The obscure, rediscovered movement has captivated the market and taken Frieze by storm
30x40 Mixed on Panel 2016
Octavi Serra uses the structures and symbolism of public spaces to question the systems we live with and find humor in their details. The Barcelona-based artist often engages with signage to subvert its original meaning, like forming a massive arrow pointing left with safety stickers that all individually indicate to exit to the right, or adding opposite directives to a signpost for routes to “hope” and “doom”. Serra also questions strictures of space, like adding “the road is lava” to a painted crosswalk, referencing the universal childhood game, or replacing parallel parking space lines with nonsensical squiggles. More
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From being forced to leave art school before graduation, to jumping straight into freelance design with little to no experience, John Zabawa has taken anything but a traditional path. We talked with him recently about what prompted his move from the Midwest to California (he’d lived in Chicago for ten years before landing in LA); the realities of living and creating as a low-income artist; how point of view may be the great differentiator in the age of the ubiquitous image; and why place and space are everything.
bollenarbeit 244, 2014 oil on canvas 77 x 60" sati zech Berlin artist, Sati Zech makes joyful yet meditative artworks that she calls bollenarbeit that refer, she says, to the hills and low mountains of southern Germany, the region where she was born. bollenarbeit no 242, 2014 69.5 x 34 inches oil, canvas Sati Zech To make them she tears apart sheets of canvas into strips and then reassembles them. Sometimes they are overlapped, sometimes she uses white archival glue, sometimes plaster or wax or thread to put the pieces together. The domes and dots of thick red paint are placed in horizontals on the cloth surfaces before or sometimes after this assembling. bollenarbeit no 19, 2006 oil, canvas 94 x 63 inches, Sati Zech In 2006 she had an exhibition of this body of work at the Heidelberger Kunstverein in Germany, and has gone on to show variations on the theme around the world. Her New York gallery, the Howard Scott has this to say about Sati Zech's bollen paintings. "The artworks of Sati Zech are unique amalgams of historically ritualistic mark making and 21st century self-expression. They emanate feelings of femaleness: her power and passion, her cycles and repetitions." bollenarbeit 110, 2010 37.5 x 27 inches, oil, canvas, wax, Sati Zech "The layering, gluing, tearing, sewing all give rise to the idea of labour. Specifically women's labour, a kind of thoughtful, painstaking never-ending work that manifests itself in tactile visions of strength, beauty, necessity, serendipity." "They contain the emotional dynamism of Louise Bourgois, the semantic materiality of Joseph Beuys, the subtle tactility of Eva Hesse and the symbolic charge of African art." all quotes from Howard Scott Gallery Sati Zech's studio with her dog, Rudi Why does this work resonate so much? Is it the colour? red .... white Or the repetition of rounded shape Or the variety within that repetition like natural elements - like human figures Or the emotion expressed with the tearing up of the cloth and the made elements the destruction? Or is it the hand-made de-skilled repairing of that cloth? Is it because the artist has created a new square a new human scaled rectangle fabric that looks to be careless, but that has taken much thought and care. much work There is a feeling of safety in these pieces. "These works are about communication. The single bollen are like elements of a piece of music, or flags, or skin that's been branded." Sati Zech for Louise Bourgois #17 Sati Zech bollenarbeit detail She is inspired by the large sensual traditional artforms of several African countries. for Louise Bourgois #18 Sati Zech bollenarbeit detail She is inspired by female sensibility. All information is from the internet. Click here for Howard Scott gallery, here for an image-full Zeit visit with the artist and here for Sati Zech's own website. Sati Zech speaks about destroying and re-building and about the power and rhythm of communication on this video from Paris.
大変、大変お待たせしました！沖縄の読谷より、【一翠窯】さんの器が届きました～。お問い合わせも多数頂き、ありがとうございました。人気の角皿たち、待望の再入荷です…
