21 October 2020Art Blogs
21 October 2020
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Gary Tinterow, the director of the Museum of Fine Arts Houston, has defended the delay of a Philip Guston retrospective, saying, âThe vehement response, to me, corroborates that rational discourse is more difficult in this moment.â [Texas Monthly]
A new organization known as the Friday Foundation has given $9 million to Seattle-based arts organizations, including the Seattle Art Museum and the Henry Art Gallery. [The Seattle Times]
Workers at the Portland Museum of Art in Oregon are pushing to unionize. Among those helping lead the effort are curators, education staff, registrars, and more. [Portland Press Herald]
Art museums at schools around the United States are being severely impacted by many universitiesâ and collegesâ decisions to go fully or partially virtual this year. [The Art Newspaper]
The U.S. is about to see a lot of Korean art shows: the Guggenheim Museum is working on a major exhibition devoted to the countryâs avant-garde during the 1960s and â70s, and the Los Angeles County Museum of Art is planning the first-ever U.S. survey of Korean modern art. [The Korean Herald]
BÃ©nÃ©dicte Savoy, the co-author of a key report about the repatriation of plundered objects in France, has called the Humboldt Forum, a controversial new museum in Berlin, âa symbol of German oppression, hegemony and colonialism.â [The Art Newspaper]
A Phillips sale in London drew $34 million in sales, with a Georg Baselitz selling for $6.5 million and a Titus Kaphar setting a record for the artist at $604,000. [ARTnews]
âWe have to look in the mirror and as soon as we can begin to make these changes within the system of my gallery, then we can become an example for others,â said dealer David Kordansky in a profile of his gallery and its efforts to diversify. [The New York Times]
Are smaller art fairs more likely to thrive right now? Although the Art Basels and Friezes of the world didnât hold in-person editions this year, smaller-scale events successfully lured galleries and buyers. [The New York Times]
Frank Horvat, a photographer known for his elegant black-and-white images of city life, has died at 92. [Le Figaro]
Lea Vergine, an Italian art historian known for her writings on body art, has died at 82, one day after her the death of her husband, the designer Enzo Mari. Vergine died of Covid-19. [Designboom]
21 October 2020
DesOrdes Creativas is an international urban art festival celebrated annually in Ordes, A Coruña, Spain.Each year the festival brings in Ordes to a selection of the best street artists of the Gallician scene, Spanish and international. The festival acts as a tool for urban regeneration and social dialogue. It contributes to urban regeneration by turning old buildings into new and colourful spaces for everybodyâs enjoyment. In this yearâs festival, Cinta Vidal, Manolo Mesa, Reskate, MÃ¸u and Maz participated.b-sm = 300x250; sm > none;
Check out below for more photos of the walls in this yearâs DesOrdes Creativas.
21 October 2020
Street artist Bansky has been surprising the world since the 90’s. From then onBanksyâs silkscreen prints and stencil paintings were racking up record-breaking sales in storied art auctions such as Sothebyâs and Bonhamâs of London. These successful sales marked Banksyâs entry into the commercial art world. For the second part of our series âDiscovering Banksyâ, we are sharing his âlittle-knownâ paintings and prints mostly dating in the 90âs and early 2000âs.b-sm = 300x250; sm > none;
Scroll down below to view the interesting selection.
Riot Painting features Banksyâs arguably most famous piece the âFlower Throwerâ. At first glance it looks like a rioter about to throw a Molotov Cocktail. However this ârioterâ is throwing a bouquet of flowers instead.
21 October 2020I have synesthesia which is a crossing of the senses. When I hear music I see colors, and numbers create tones. This painting is a combination of all of my passions including physics and music. It began with a poem, which was written on the surface. Many layers of plaster and special blends I made to create texture were built onto the surface. The color was influenced by the song that is depicted by the musical score. The song was made by sonifying the data which came from the Higgs-Boson collider in Cern Switzerland. I told you it was weird didn't I. It is my vision of creation.
60"x48"1.5" Acrylic on Wood
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21 October 2020
Venue: Miguel Abreu, New York
Exhibition Title: Dawn Goes Down
Date: September 10 â October 24, 2020
Full gallery of images, press release and link available after the jump.
Images courtesy of Miguel Abreu, New York
Miguel Abreu Gallery is pleased to announce the opening, on Thursday, September 10th, of Eileen Quinlanâs Dawn Goes Down, her sixth one-person exhibition at the gallery. The show will be held at 88 Eldridge Street, while Displacements and Dead Trees, her concurrent two-person exhibition with Cheyney Thompson will be on view at our 36 Orchard Street location.
A black and white, documentary photograph of a piece of driftwood opens the exhibition. This commanding, potent image irresistibly draws the viewer into its intricate, knotty details; and as the eye travels the surface of the large fiber paper print, the iconographic and material modulations of the picture gradually reveal themselves. In the upper left area, an energetic swirl of lines interrupts the general flow of the composition and produces an instance of concrete poetry, a moment of photo-chemistry gone awry.
As the viewer turns into the first gallery, a sudden shift in image regime confronts the eye. Colorful, large-scale multi-panel works comprised of nervous streaks of ambiguous, yet gorgeous abstraction bring to mind painterly gestures and the capture of unconstrained movement. The opposition between analogue and digital imagery that structures Quinlanâs exhibition has been set up, and the wide range of her photographic practice is on immediate display. On the one side there seems to be insistence on a prolonged act of seeing and deciphering, an invitation to sustained examination, while on the other an air of disengagement and laissez-faire chance effects dominates perception.
In the catalogue essay accompanying his group exhibition Objects Recognized in Flashes, recently on view at Mumok in Vienna, curator Matthias Michalka asks âwhat is the status of our uses of and relationships with analogue and digital images? How do we view the relations between material and immateriality, body, screen, and photographic surface?â In this groundbreaking show on the current state of photography that brings together the work of Michele Abeles, Annette Kelm, Josephine Pryde, and Eileen Quinlan, Michalka focuses on approaches to the âsurfaces of photographs, products, and bodies in a greatly digitalized society.â The exhibition aims âat a captivating, contradictory confrontation with the âdistribution of the sensibleâ (Jacques RanciÃ¨re) in our mediatized consumer culture.â Quinlanâs work included in Dawn Goes Down and elsewhere is situated at the forefront of this exploration.
A conversation about the artist with her long established black and white master printer, Sam Merians, points to the fact that Quinlan âis among a very, very small group who manipulate the negative in the photographic work cycle. Of that very small group, almost no one has done so for adequate time or with adequate affection to create a discernable language. While it is true that the printmaking is historically quite beautiful (see Aaron Rose or Man Ray) it is never, never, at this scale.â Quinlanâs interest in acknowledging and working with the various available materials and techniques of the photographic have lately moved to engaging the expressive potential of a flatbed scanner, this camera less instrument for the digital capture and transmutation of heterogeneous surfaces and subject matter. As opposed to the quasi-instantaneous shutter speed of the traditional camera, the scanner head is a decidedly time-based recording device, which slowly and perhaps more ominously traverses the given rectangular field of the flatbedâs glass plate. Quinlan intervenes in this regulated movement by agitating and shuffling around her materials during the time of capture, thus unleashing disturbances and allowing inherent chance effects to occur. Contemplating the complexities of the apparatus and the piece of equipment she is thinking of using, the desire to first immerse herself in its inner workings to understand it, are notable features of Quinlanâs subtle and inventive balancing acts.
Eileen Quinlan (b. 1972, Boston) earned her MFA from Columbia University in 2005, and had her first solo museum exhibition at the Institute of Contemporary Art, Boston in 2009. Her first survey show, Wait For It at the Kunstverein fÃ¼r die Rheinlande und Westfalen, DÃ¼sseldorf, was held in 2019. Quinlanâs work was recently included in Objects Recognized in Flashes, a major group exhibition curated by Matthias Michalka at MUMOK, Vienna, alongside Michele Abeles, Annette Kelm, and Josephine Pryde (2019), Passer-by at Lafayette Anticipations, Paris (2019), Picture Industry: A Provisional History of the Technical Image, 1844â2018 at the LUMA Foundation in Arles (2018), VIVA ARTE VIVA, the 57th International Art Exhibition, Venice Biennale, curated by Christine Macel (2017), and Always starts with an encounter: Wols/Eileen Quinlan, produced by Radio AthÃ¨nes and curated by Helena Papadopoulos at the Museum of Cycladic Art in Athens (2016). Previously, Quinlan participated in Image Support at the Bergen Kunsthall, What Is a Photograph? at the International Center for Photography, New York, and New Photography 2013 at the Museum of Modern Art, along with group exhibitions at the Metropolitan Museum of Art, the Hammer Museum, White Columns, the White Cube Bermondsey, the Langen Foundation, Mai 36, Marian Goodman Gallery, Andrea Rosen Gallery, and Paula Cooper Gallery, among others.
Quinlanâs work is in the permanent collections of the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, Solomon R. Guggenheim Museum, CCS Bard Hessel Museum, Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, Hammer Museum, Pinault Collection, AÃ¯shti Foundation, MIT List Visual Arts Center, Institute of Contemporary Art / Boston, Ackland Art Museum, Henry Art Gallery, Whitworth Art Gallery in Manchester, VâAâC Foundation, Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK), Kunstpalast DÃ¼sseldorf, and the Brooklyn Museum.
The artistâs fifth solo exhibition at Miguel Abreu Gallery, Too Much, was on view in the fall of 2018, coinciding with the release of her first monograph, Good Enough, published by Osmos Books. Always Starts with an Encounter: WolsâEileen Quinlan, was published by Radio AthÃ¨nes and Sequence Press in the fall of 2019.
Her work is also currently included in Artistâs Choice: Amy SillmanâThe Shape of Shape at the Museum of Modern Art, New York.
21 October 2020
21 October 2020
by Carolyn EdlundArtist Priscila Soares’ work is focused on speaking out about hearing loss, motherhood and spirituality.
âA Determined Warriorâ digital painting by Priscila Soares
Priscila Soares began to lose her hearing as a teenager. Over the years she underwent medical procedures and surgeries, with varied results. Ultimately she found that educating herself, gaining self-acceptance, and maintaining a positive attitude has put her in a position to be an advocate and inspiration for others who are deaf or limited in their hearing. Soares describes herself as âa person with severe hearing loss on a spiritual path of inner exploration.â
After her second son was born, he was diagnosed with a severe to profound hearing loss in both ears. Soares began using different mediums to create art related to hearing loss, in order to bring âvisibility to an invisible disability.â We recently had a conversation about her work, her purpose and the opportunities this has produced.
âThe Deaf Ballerinaâ digital painting by Priscila Soares
PS: When I decided to pursue my art professionally, I was just turning 40. Iâve spent so many years thinking about diving into it, but never had the courage to do so. What changed was that as my two sons became old enough to be more independent, I realized I had more time to myself, but I had no idea how to handle that extra free time. It was as if I had a part of me taken away.
I was the mom, the partner, the friend, but I gave very little attention to my true desires. I ended up getting sick and depressed and seeking therapy. Thatâs when I found the courage to start doing art all the way to completion, even if I didnât like the way it turned out at first.
At that time, I was having very strong symptoms from uterine fibroids. It led me to think about what it means to be a woman, a mother, to have a womb, to create new life from inside of your own body. I dove deep into those themes. I was also embracing the fact that I had many issues with my own hearing loss, which started when I was a teenager.
Being almost deaf, I dreaded group conversations and being in noisy environments. So I avoided many of them at all costs. I understood that in order to overcome that fear, I had to learn how to accept myself for who I am. My way of doing that ended up being thorough my art. I divide my work into three series: Self Discovery, Hearing Loss Portraits and Motherhood.
âSpiral Pastâ watercolor on paper by Priscila Soares
PS: When I started sharing my art, I was very focused on my own personal story. It was my therapy. But soon I got some feedback on how my art and the stories behind it were powerful and healing to them as well. A lot of tears happened when I would open the doors to my little studio. It motivated me to invite others to share their stories with me so I could portray them in my art too. It really showed me the power that art can have in peopleâs lives.
âOut of the Cochlear Shellâ papier mache, cold porcelain, 19â³ x 12â³ x 8â³ by Priscila Soares
PS: I got invited to illustrate two childrenâs books âAll the ways I hear youâ and âNow Hear This â Harper Soars with Her Magic Earsâ and have more on the way. I became one of the Ambassadors for Oticon Medical. My art got a lot of press too, mainly from the hearing loss and disability communities. Iâve become an advocate to help people feel seen and honored. The best part is the individual connections I get to make with people because of what I do.
Priscila Soares works on her painting âThe Violin Playerâ in her studio.
PS: I want to keep honoring peopleâs stories through my paintings, sculptures, puppets, videos and books. We can learn so much from each other! My wish is for everyone to realize that the things they may believe are impairing to their lives can actually be what makes them so much more powerful and unique. I want them to experience that realization and feel free to embrace who they truly are.For Email Marketing you can trust.
21 October 2020
As the school calendar rolls on and the time for new course proposals and curricular revisions nears, take a minute to consider how some minor changes can positively impact enrollment in your Advanced Placement (AP) Studio Art courses. Regardless of your personal opinion on AP courses and the Studio Art curriculum, AP does carry a lot of weight in many school communities.
Many students are motivated by the benefits like the potential of earning college credit, GPA bumps, or even the perceived status of being in an AP course. For the art teacher, an AP art course with robust enrollment and positive results can be highly valued by your administration and school community. And value is important to remain relevant.Here are 4 Ways to Boost Enrollment and Enthusiasm for AP Art: 1. Reduce Prerequisites
The problem: One of the most common barriers to an AP course is the prerequisite courses required in order to enroll. Understandably, prerequisites can help teach students the knowledge and skills you want them to acquire prior to being in AP. You want students to be successful in the course and, thus, they need to have the necessary tools. Unfortunately, meeting the number of prerequisites can be challenging when you consider other factors like an increase in graduation requirements and required support classes. These scheduling barriers can limit the number of students available to take the necessary courses prior to AP.
The fix: Reduce your prerequisites to increase the pool of students eligible to enroll. Once students are in the course, you can continue to teach them skills and approaches through your assignments.2. Rebrand and Redefine Success
The problem: One unwritten prerequisite is the perception of students who enroll in the course. Many programs consider AP to be reserved for the “serious art student” or for students who are “going to art school.” These perceptions can heavily influence how counselors work with students and how students see themselves. You might also feel like AP is only for students who already have a strong skill set and a developed artistic voice, and this is their opportunity to work with little instruction and only your guidance.
The fix: Rebrand the course and the definition of an AP art student to be a space where all students can be successful. Redefine what success means by welcoming students who might enter the course with the ability to earn a one on the portfolio submission but can leave the course with a passing score of a three. Rather than accepting students with strong technical skills, consider students with the habits of mind that contribute to success. For example, students who are willing and interested in making art, who will put in the time necessary, and who can be receptive to feedback and learning.3. Clear Pathway
The problem: Students have to know an AP art course exists before they can enroll. This often begins with their freshman year as they think about a four-year course plan. Start by looking at how your AP course name aligns with the rest of your courses. Current course names can vary from AP Studio Art, AP Art, AP Drawing, AP 3D Design, etc. Some of these names can be unclear. You don’t want to rely on a student having to read a course description to be aware of a course. The College Board does not require the high school course title to match the AP course title.
The fix: Change the name of the AP course(s) to be more clear and consistent with your other course titles. For example, if you currently offer Photography 1, 2, and 3, create a course for AP Photography. While you might not be able to field a whole section of these students, they can be combined with other art sections as necessary in the scheduling process. This allows students to better understand what opportunities are available and is consistent with your overall program. A student interested in photography might not think of themselves as an artist or be put off by an AP art course.4. Supportive Classroom
The problem: AP art programs can be challenging when all of the students, regardless of the preferred medium, are in the same class. It’s likely you don’t have one classroom in your school that can offer all of the supplies necessary for all mediums. Students working three-dimensionally might be sent to another room during class that better supports their needs in many cases. While well-intentioned, this often results in students leaving their peers and working in another space without direct access to the teacher.
The fix: Create multiple sections of AP art based on similar mediums. For example, AP Drawing & Painting and AP Ceramics & Sculpture. If you aren’t able to run a whole section due to enrollment, combine these classes with an upper-level section within the same strand. This gives the AP students direct access to the materials they need, a community of other AP artists, a teacher in the room, and gives potential AP students a glimpse at what they could do in the future.
How to Set Your AP and Advanced Students up for Success
How to Teach AP Art and Design Classes When School is Closed
Art Teacher Answers for Advanced Placement Portfolio Questions
A More Effective Way to Plan Your AP Courses
The AP Studio Art courses by the College Board provide students with many benefits. Most importantly, the portfolio requirements direct students to create a consistent body of work investigating a particular idea. All students could benefit from experiencing this process regardless of technical skill. If all students could leave high school with the ability to form an opinion and support that opinion with (visual) examples, think of how much more prepared they would be for the future. Follow these tips to help you maximize the number of students able to benefit from this experience and increase your AP enrollment.
In what other ways could teachers build their enrollment in AP courses?
How could teachers encourage more students to think of themselves as AP artists?
21 October 2020A view of some of the Matisse-inspired art works by Claudia Hart in The Ruins at Bitforms gallery (all images by the author for Hyperallergic)
Claudia Hart’s new exhibition focuses on the masters of Modernism, Matisse in particular, an artist whose work straddles early 19th-century and Modern art galleries in most museums. But it’s not the stylistic shift from one to the other that interests her, rather the very modern phenomenon Matisse also straddles: copyright. Matisse’s work remains under copyright in the US, because of the country’s prohibitive laws, unlike that of earlier artists which has since entered the public domain. Hart’s use of Matisse seems to relish the contradiction at the core of modern and contemporary art today; in a field with so much appropriation, borrowing, and stealing, what does copyright mean anyway?
Hart’s interest isn’t limited to painting and copyright, as she sees parallels between the digital world and physical image making, much like the way 19th-century photography influenced the painting of its time. The Ruins plays with the visual culture of this period but makes it anew via animate sculptures, augmented wallpapers, and animationsA view of “The Ruins (three-channel)” (2020)
In the larger, Matisse-inspired digital works that dominate this solo exhibition, Hart references a number of his well-known Fauvist paintings, but knowing the references doesn’t feel essential. Their five-minute loops imbue a quiet and calm quality that suggests a meditative space. The plants sway but never grow, the clocks turn with their own rhythmic pace, refusing to tell time but conveying a sense of it nonetheless. The scale and rectangular formats recall windows, which also evokes a favorite trope used by Matisse in his art.
While the three digital works are the more enthralling and vivid of the bunch, the exhibition is named for the larger, three-channel work that dominates one wall. This peculiar work leads you through a labyrinth populated by well-known 19th-century and early 20th-century paintings. Speakers softly play texts penned by four white male utopians: Henry Ford, Thomas Jefferson, Walter Gropius, and Jim Jones. Ford’s portion sounds like it was read by Mickey Mouse, while Jones’s portion is read with a demon-like voice, raising questions of what constitutes utopia and what ruins they are built upon.
Hart pokes at the art world’s obsession with technology and radicalism as both an end and a form of commodity. She avoids capturing moments and images, and prefers to simulate them in her digital creations. By making still lives come to life, Hart plays with the fantasy of breathing life into the static. It’s unclear if she is trying to resuscitate these tired, old forms that have been reproduced infinitum, or if she is proving how dead they truly are.
Claudia Hart: The Ruins continues through October 24 at Bitforms Gallery (131 Allen Street, Lower East Side, Manhattan).
21 October 2020Nikita Gale: PRIVATE DANCER at the California African American Museum (photo by Elon Schoenholz)
Bright flashing lights, a monumental stage, blasting speakers, a commanding performer — these are just some of the typical elements of a live concert. Who knows when we’ll next be able to safely experience a performance in this way, which perhaps makes it an apt time to reflect on how we’ve experienced concerts and what we expect from them.
“I always feel like my responsibility to the viewer is to kind of provide a framework for questioning their experiences in different ways,” says the artist Nikita Gale, who has an exhibition titled PRIVATE DANCERat the California African American Museum (CAAM). A direct homage to Tina Turnerâs 1984 album of the same name, Galeâs installation imagines what happens when you remove the figure of the performer from the concert space. Amid industrial cranes, strobe lights dance to the rhythm of Turnerâs album, but we canât hear the sound of the music itself.Jasmine Nyende, Gabrielle Civil, and mayfield brooks (image courtesy CAAM)
Performance artist Gabrielle Civil relates to Galeâs artwork, in particular that sense of âwhat you donât see â that female Black body.â This Thursday, Civil will be moderating a conversation with fellow performance artist mayfield brooks and Jasmine Nyende, the lead vocalist of FUPU, an all-Black, femme punk band from South Los Angeles. âIâm interested in being real about the scaffolding of unrecognized labor of Black women and femme bodies related to performance,â said Civil of their upcoming dialogue.
While the installation is currently closed to the public due to COVID-19 regulations, the event is a special way to engage with Galeâs work, while also being a rare and intimate chance to hear three Black women performers talk about the labor that goes into their work and what it is like up on that stage.
When: Thursday, October 22, 5â6:30pm (PDT)
More info at CAAM
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