For each issue of Untitled, which are thematic, I oversee all production, personally cast the issue and photograph many of the subjects featured, as well as interview them. I personally selected not only the talent featured but also the other female photographers and journalists and worked with them closely to create the issue which really is one of a kind! L-R A guest with artist Indira Cesarine at the opening.
In My Lonely Days Are Gone brought together ten contemporary artists to explore the potential of a given physical space to generate wall works that commented on the role of abstraction.
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- [boxhead]: A Bedtime Story for Your Brain;
Part 2 of My Lonely Days Are Gone contin ues to explore the connection among edge to edge images and the ready-made architectural set-up of the space. Each of the commissioned works in this exhibition focuses on a number of approaches to painting, drawing, collaging and printing. These non-permanent, site specific pieces juxtapose, at times, several techniques to probe the impact of specific interventions interacting with each other and within the space.
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From its inception abstraction has had many meanings. Its history, ramifications and impact on our visual culture are still essential to contemporary art and artists. An underlying temporality is part of My Lonely Days Are Gone , as all works will be painted over after the exhibition ends. The Impossibility of Abstraction — Ray Bull: Ray Bull, Patches, , Ink on canvas, 60 x 48 in The purpose of abstraction was, in part, to subvert this interpretive proclivity and allow the viewer to be more deeply engaged through forms and colors and the relationships between them.
That was the theory anyway. His compositions consistently straddle the line between representation and abstraction.
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Abstraction is allegory by another name in which you bring the same preconceptions and pre-existing beliefs to the work as you do with representational pieces and subject it to analysis. There is no way to move beyond this analytical process and to believe there is a way to be affected by abstraction without cognitive analysis becomes tantamount to believing, a la Carl David Friedrich, that staring at mountains long enough will integrate you into nature and help you feel the true Christian God.
Being directly engaged, without analysis, by a piece of abstraction, is a myth. Ray Bull, Sal Chow, , Ink on canvas, 60 x 48 in Ray Bull also, in his pieces, seems to take this argument one step further. He seems to wan t to get at the source of our capacity to verbalize meaning and how a type of destructive interpretive feedback loop can be created through this process. If I look at a work of abstraction and can analyze it, it is due to the relationship and effect of the various elements in the painting. It seems that the awareness of the relationships between colors and forms and their effects then inevitably leads to a need to articulate or verbalize which then destroys any further capacity for direct engagement.
In attempting to create an abstract piece analysis of the relationships between colors and forms will, however, occur and, of necessity, the piece will lose its vitality and potential for engagement and merely invite a limited cognitive interpretation from the viewer. By extension we can guess that if an artist chooses pure, unadulterated improvisation, true abstraction might be possible and true engagement of the viewer might occur. Yet, Bull could also be saying that in the deliberate choice of improvising there is also analysis and planning, which would then militate against the ultimate goal.
Ray Bull, Legs, , Ink on canvas, 60 x 48 in These new works continue his exploration of the blurred line between reality and fantasy while introducing new themes, such as the undeniable connections between visual art, music and theater. I use all those things in my painting; I draw my inspiration from all those particular times. In the end, the image is very simple yet full of many different hidden meanings. Roux-Fontaine begins with sketches then applies thick layers of paint, pure pigment, marble powder and resin using brushes and spatulas.
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His paintings tell stories while u niting art, music, nature, humankind, theater and outer space. The artist was born in in the Savoy Region of France. Since his first solo exhibition in , he has enjoyed sellout shows and overwhelming success throughout Europe. In , Spanish private arts foundation Josep Niebla presented his first retrospective. His studio is now in Lyon, France but he spends a great deal of time gathering inspiration for his work by traveling internationally.
Roux-Fontaine will attend the opening reception on May For further information, prices and photographic material, please contact Elizabeth Thompson at Gallery hours are from Bushwick Open Studios Highlight: Maniscalco seems to be drawn to those he meets in his travels who have endured extreme hardship, or who are enduring extreme hardship, but who solicit no pity and who are not so much resigned to their rough lives as they are determined not to give in to self-pity or hopelessness due to…. It has another one of its amazing group shows up these days until June 20th and it should not be missed.
Some folks have a misconception about super-realism and believe that super-realist artists are only interested in capturing something they perceive in the world on canvas. Compass Theory, , Mixed media, canvas over panel, 39 x 22 inches; 99 x Traveling extensively, he appropriated not only the tastes, but the textiles and small elements from villages throughout the world to embody those locations from a different perspective.
They are also the most versatile and most common as well. The number of games that use playing cards numbers in the thousands and over a hundred million decks of cards are sold each year. The earliest playing cards date back to the 6th century in both China and India, and historical accounts refer to playing cards in Persia in 13th….
The subject of this exhibition is roses, in all of their beauty, their long held symbolis m of love, faithfulness, and the private relationships of like-minded souls. Doosan Gallery is, like many Chelsea galleries, pretty liberal with its free wine on Thursday openings, but on April 16, there was no wine and the mood was somber. It was the first anniversary of the Sewol tragedy — when a ship…. A pink-gloved albino in a chartreuse suit steps swiftly across the sidewalk and opens the rear door of the vehicle. The man smiles, takes her hand, then whisks the celebrated artist from….
Press Release For press requests and further information please contact: Artist Joseph Wolf Grazi with his work. Close up to a Joseph Wolf Grazi sculpture. The crowd at the opening. Guests enjoying the work of Indira Cesarine. Close up to a photograph by Indira Cesarine. Guests at the opening. Three photographs by Indira Cesarine.
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A guest checking out Untitled Magazine. Alexandra Markovic enjoying the show. Maniscalco seems to be drawn to those he meets in his travels who have endured extreme hardship, or who are enduring extreme hardship, but who solicit no pity and who are not so much resigned to their rough lives as they are determined not to give in to self-pity or hopelessness due to… View On WordPress. Henoch… View On WordPress.
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