Secret Walls, an art and entertainment brand, announces their first-ever Support Your Local Artist Tour. The tour will be a multi-city tour bringing renowned art pieces and design battles across North America. Each spot will depict different illustrations from the local talent followed by a head-to-head art scrabble competing for Secret Walls Glory.
To kick off the tour, Secret Walls assembled a preview to give the guests a sneak peek of how the excursion would look in their art studio based in Korea Town. Right outside the locale, guests could browse some of the artwork from Secret Walls family and affiliates staged along the walls of the parking lot.
360 Magazine had the honor to speak to the creative director of Secret Walls, Jimi Zendrix. Jimi mentioned that he studied graphic design at Brighton University, but dropped out because of an opportunity that arose at a graffit art gallery in the UK. As creative director, he wants to continue to grow the secret walls family, and keep their status of being the biggest and best live art party.
After indulging in the variety of food, attendees took their seats for the art battle. Usually the contestants are given a total of ninety-minutes, but for this press event they wanted to add a little pressure to the competition and only provide a thirty-minute time frame. The duel was one for the books. As the time came to an end, Joon the Goon and Allison Bamcat took the victory with their mural of a punk rock grim reaper.
Secret Walls is taking things to the next level. Especially having partners like Moonwalk and Palm NFT Studio who are just as passionate about supporting the native talent in the harboring areas. To learn more about the Support Your Local Artists Tour, please visit www.secrewalls.world.
ABOUT SECRET WALLS
Founded in London in 2006, Secret Walls is the world’s premier live arts entertainment brand, where artists take a stage to show off their talent and compete to win. We exist to entertain fans, support local, develop artists and showcase the best creativity on the planet. We operate across the realms of physical and digital art – IRL + URL – and we are always expanding our universe in exciting new ways.
ABOUT PALM NFT STUDIO
Palm NFT Studio is a technology company that partners with leading artists, creatives, IP owners, and entertainment companies toonboard them into Web3 and NFTs. To date, Palm NFT Studio has executed “The Currency” with Damien Hirst and HENI, launched Pace Gallery’s metaverse platform Pace Verso, and delivered NFT programs in support of DC FanDome, Warner Bros. “Space Jam 2,” and “The Batman”, among others. Palm NFT Studio is also one of the contributors to the development of the Palm network. Palm NFT Studio was brought together by ConsenSys founder and Ethereum co-founder Joseph Lubin; film producer and owner of Heyday Films, David Heyman; and founder of world-class art house HENI Group, Joe Hage. The venture is being led by co-founder and CEO Dan Heyman, former General Manager of protocols at ConsenSys. In December 2021, Palm NFT Studio announced a Series B raise of $27MM led by Microsoft’s venture fund M12, and including Griffin Gaming Partners, RRE, Third Kind Venture Capital, Sfermion, the LAO, Warner Bros., SK Inc., among others. Learn more: www.palm.io; Discord: Palm NFT Community; Twitter: @PalmNft
ABOUT MOONWALK
Moonwalk is the leading no-code NFT and Web3 platform for brands, creators and communities. Moonwalk’s platform is the easiest way to enable brands, creators, and communities to create their own branded Web3 economies. The Moonwalk platform drives engagement and revenue by interconnecting NFTs, social tokens and utility across a brand’s digital ecosystem, from social to content and shopping. Moonwalk’s core offering centers around branded Web3 wallets that enable users to interact with brands, purchase and unlock NFTs, and earn and use social tokens throughout the brand’s ecosystem. It also facilitates the creation and minting of NFT collections that enable communities to form and unlock content, access, and value. Moonwalk works with iconic brands in sports, music, media, and gaming. For more information, visit www.moonwalk.com
GR Gallery is pleased to announce – BLUE STROKES – a groundbreaking group exhibition showcasing multi-talented artists from different states of Africa: Mamus Esiebo, Daniel Tetteh Nartey, Atanda Quadri Adebayo, Moustapha Baidi Oumarou. This exciting show will reveal, for the first time in a public exhibition in the U.S. , the latest series of artworks that the artists have been working on for the past months. Appositely conceived for this occasion, this bold body of new works will independently invade the gallery space, contrasting and counterbalancing each other. The show will put together in total twenty original artworks, including paintings on canvas, works on paper and a print.
When: Opening: Thursday September 09 , 5:00pm – 8:00pm (Exhibition Dates: September 09 – October 9 2021). Members of the press can contact GR gallery in advance to schedule a private viewing and/or an interview with the artists before the exhibition is officially open. Reception will be held with no restrictions and drinks will be served. Visitors who want to attend the opening can RSVP by contacting the gallery.
Where:GR gallery, 255 Bowery (between Houston & Stanton) New York, NY 10002
– BLUE STROKES – includes artists from Ghana, Nigeria and Cameroon – all of whom have experienced and contributed to a rich history in local culture and personal heritage. Besides the shared extensive use of the blue tint and the technique used to apply it, the title refers to the color the sky and the sea, associated with freedom, elegance, inspiration, wisdom and the saturnine behavior that defines artists and keeps under control the powerful striking act of wrath. From the vivid imagery, immense balance of rich contrast, to a super concentrated explosion of color, every unique shade, texture and identity of the artists have been interwoven to create this unique exhibition. The artists hail from a variety of communities and homelands; their stories and embracement are portrayed on each piece of artwork that was specifically made to present their vision, their commitments, and their actual life.
-Featured Artwork is “Summertime”, 2021, digital painting on canvas 36 x 48 inches by Mamus esiebo*
“Untitled”, 2021, acrylic on canvas, 150 x 100 cm. By: Moustapha Baidi Oumarou
“survival’s gaze”, 2021, acrylic and charcoal on canvas, 72 x 61 in. By: Atanda Quadri Adebayo
The Untitled Space is pleased to present “UNRAVELED: Confronting The Fabric of Fiber Art” group show opening on April 17 and on view through May 28, 2021. Curated by Indira Cesarine, the exhibition will feature textile and fiber-based artworks by 40 contemporary women artists. “UNRAVELED: Confronting The Fabric of Fiber Art” explores in depth the themes and techniques of the medium through the works of female-identifying artists working with natural and synthetic fiber, fabric, and yarn. The exhibition presents figurative and abstract works that address our lived experience and history through the lens of women weaving, knotting, twining, plaiting, coiling, pleating, lashing, and interlacing. Narratives of self-identification, race, religion, gender, sexuality, our shared experience, as well as protest and the patriarchy are literally “unraveled” through embroidery, felt, woven and hooked rugs, braided and sewn hair, sewn fabrics, discarded clothing, cross-stitching, repurposed materials and more.
Exhibiting Artists: Amber Doe, Carol Scavotto, Caroline Wayne, Christy O’Connor, Daniela Puliti, Delaney Conner, Dominique Vitali, Elise Drake, Elizabeth Miller, Hera Haesoo Kim, Indira Cesarine, Jamia Weir, Jody MacDonald, Julia Brandão, Kathy Sirico, Katie Cercone, Katie Commodore, Katrina Majkut, Katy Itter, Kelly Boehmer, Linda Friedman Schmidt, Lisa Federici, Marianne Fairbanks, Mary Tooley Parker, Melanie Fischer, Melissa Zexter, Mychaelyn Michalec, Mz Icar, Orly Cogan, Robin Kang, Rosemary Meza-DesPlas, Ruta Naujalyte, Sally Hewett, Sarah Blanchette, Sooo-z Mastopietro, Sophie Boggis-Rolfe, Stacy Isenbarger, Stephanie Eche, Victoria Selbach, and Winnie van der Rijn.
Curatorial Statement:
unravel [ uhn-rav-uhl ] to separate or disentangle the threads of (a woven or knitted fabric, a rope, etc.). to free from complication or difficulty; make plain or clear; solve: to unravel a situation; to unravel a mystery.
“UNRAVELED: Confronting the Fabric of Fiber Art” investigates the narratives of contemporary fiber artists. The exhibition brings together a diverse group of artists who each address through their own personal vision, materials, and methods, works that are deeply rooted in the history of feminism, in the intersection of art and craft, addressing our living experiences and personal languages. We live in a world of extremes – on one hand, the pandemic has brought forth an intensity on digital and online programming peaking with the emergence of NFT art, and on the opposite end of the spectrum we are seeing a return to the comforts of the home and along with it a renaissance of organic and handmade artworks that embody that spirit. The laborious and repetitive methods required to create one work of fiber art can take hundreds of hours, yet equally the creation process is often referred to as a mediative act of healing, allowing for an expressive personal and cultural interrogation.
Fibers have been an integral part of human civilization for thousands of years. Textile art is one of the oldest art forms, dating back to prehistoric times. Despite early works of textiles such as embroideries and tapestries having been made by both men and women, the tradition of textiles and needlework evolved into that of “women’s work” and was not only dismissed as not “important” but was literally banned from the high art world by the Royal Academy in the 18th century (circa 1769). With the rise of the women’s movement as well as technological advances, women reclaimed the medium, subverted its history as a lesser art form, and transformed it into a tool of expression, of protest, of personality. From early suffrage movement embroidered banners to the groundbreaking exhibitions and works of female pioneers such as Bauhaus weaver Anni Alber’s momentous solo show at the Museum of Modern Art in 1949, Lenore Tawney’s exhibition at the Staten Island Museum in 1961 to Judy Chicago’s groundbreaking 1979 work “The Dinner Party”, we have seen the medium evolve and inspire new generations of fiber artists.
“UNRAVELED: Confronting the Fabric of Fiber Art” explores this new wave of female-identifying artists who are using materials ranging from thread and yarn to human hair, fabrics, and discarded clothing, among a range of other components to unravel the “language of thread” with works that provoke and interrogate. Whether drawn from a deeply personal narrative, or rooted in political motivation, each artist weaves, spins, sews, and hooks the viewer with their detailed and intricate textures that communicate and empower. The exhibition presents two and three-dimensional pieces that explore with gravity and humor our contemporary culture, its beauty, flaws, and idiosyncrasies through murals, assemblages, fragile and gestural threads, meditative, and metaphorical fibers. “UNRAVELED: Confronting the Fabric of Fiber Art” pushes the boundaries, investigates ancient as well as new materials and techniques, and presents a contemporary universe of the language of women and their interwoven, progressive vocabulary.”– Curator Indira Cesarine
“To know the history of embroidery is to know the history of women.” – Rozsika Parker author of “The Subversive Stitch” (1984)
“I am a multimedia artist who uses sculpture and performance to bear witness to the experiences of black women even as American society aims to render us and our lives as invisible and meaningless. Despite the prevalent “urban black” narrative, my experience is tied to the natural world, and I use materials that reference my desert environment and my lived experience as a black woman with Indigenous roots.” – Artist Amber Doe
“I mix subversion with flirtation, humor with power, and intimacy with frivolity. My subject matter is frank and provocative, dealing with issues of fertility, sexuality, self-image, isolation, vulnerability, indulgence, and beauty in the mundane, which are designed to challenge social stereotypes embedded within childhood fairytales. My work explores the many flavors of feminism.” – Artist Orly Cogan
“I pull from my autobiography to illustrate stories of trauma, sexuality, intimacy, and growth. Detailed beading and cyclical patterning emphasize the consistent labor in the repetitive motion of handsewing, that which mirrors the emotional and psychic labor expended in order to manage the suffering a body can accumulate over time. My sculptures translate the life experience of a survivor of complex trauma through the lens of glittering beadwork in order to recount deeply traumatic stories for the same cultural collective that due to repression, denial, censorship and deliberate silencing…” –Artist Caroline Wayne
“This body of work scrutinizes the amalgamation of victim shaming tropes that men and women are taught throughout their lives, both passively and actively, through social norms, pop culture, our educational and legal systems, religious establishments, and familial influences and upbringing.” – Artist Christy O’Connor
“My work focuses on my personal experience living within the confines of a female body, exploring sexuality, religion, and body image. The shared narratives of childbirth, menstruation, dysmorphia, sexual violation, and societal scrutiny all come into play and find connections with the viewers in their shared commonality.” – Artist Dominique Vitali
“My textile works are hand-sewn, fabric based sculptural pieces made from recycled materials that have multiple uses as ritual talismans, wearables, ecstatic birth blankets, dreamcatchers and traveling altars”. – Artist Katie Cercone
“Discarded clothing is my paint. I give second chances to the worn, the damaged, the mistreated, the abandoned, the unwanted, and to myself. My emotional narrative portraits and figurative artworks examine the human condition through my own lived experience. The violence of cutting and deconstruction make way for the reconstruction and refashioning of a broken past.” – Artist Linda Friedman Schmidt
“We are drawn to the grand gesture, the loud assured voice, the bold move, the aggressive brush stroke. I celebrate the opposite: the small moments in our lives – the unremarkable… as Covid-19 took over, some of the things I was celebrating became even more pertinent; toilet paper, soap, hand sanitizer. These objects became signs of hope, of safety, of comfort.” – Artist Melanie Fischer
ABOUT THE UNTITLED SPACE
The Untitled Space is an art gallery located in Tribeca, New York in a landmark building on Lispenard Street. Founded in 2015 by artist Indira Cesarine, the gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary-pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performance art. The gallery is committing to exploring new ideas vis-à-vis traditional and new mediums and highlights a program of women in art. Since launching The Untitled Space gallery, Cesarine has curated over 40 exhibitions and has exhibited artwork by more than 450 artists. Her curatorial for The Untitled Space includes solo shows for artists Sarah Maple, Rebecca Leveille, Alison Jackson, Fahren Feingold, Jessica Lichtenstein, Tom Smith, Loren Erdrich, Kat Toronto aka Miss Meatface, Katie Commodore, and Jeanette Hayes among many others. Notable group shows include “Art4Equality x Life, Liberty & The Pursuit of Happiness” public art exhibition and group show presented in collaboration with Save Art Space, “IRL: Investigating Reality,” “BODY BEAUTIFUL,” “SHE INSPIRES,” Special Projects “EDEN” and “(HOTEL) XX” at SPRING/BREAK Art Show, and internationally celebrated group shows “UPRISE/ANGRY WOMEN,” and “ONE YEAR OF RESISTANCE” responding to the political climate in America, as well as numerous other critically-acclaimed exhibitions. Recent press on Indira Cesarine & The Untitled Space includes Vogue (US), Vogue Italia, CNN, Forbes, Newsweek, W Magazine, Harper’s Bazaar, Teen Vogue, New York Magazine, i-D Magazine, Dazed and Confused, and The New York Times among many others.
*Featured image artwork by Victoria Selbach for UNRAVELED: Confronting The Fabric of Fiber Art.
Artwork by Elise Drake, UNRAVELED Confronting The Fabric of Fiber Art.
Artwork by Mary Tooley Parker, UNRAVELED Confronting The Fabric of Fiber Art.
Alex Reynolds – There is a Law, There is a Hand, There is a Song.
From February 19 to June 13, 2021, the Guggenheim Museum Bilbao will be presenting Alex Reynolds. There is a Law, There is a Hand, There is a Song, the first exhibition of 2021 in the Film & Video gallery, a space that the Museum reserves for key works in video art, film, and the artistic languages associated with the moving image.
This time, three recent works by Alex Reynolds (b. 1978, Bilbao) will be featured. Reynolds is known for her constant exploration of our modes of relation and affection, especially in their manifestations through cinematic language. The work The Hand that Sings (2021), recently co-produced by the Guggenheim Museum Bilbao, will be shown in an international premiere in the main gallery as part of this exhibition.
Created by Reynolds in collaboration with Swedish choreographer Alma Södeberg, The Hand that Sings builds a web of connecting gestures, voices, and images in time. These elements seem to mimic each other in open sequences and chain reactions: from the almost ritual-like extraction of oak bark in Extremadura during the annual cork harvest, to the act of peeling an orange before a small fire or the act of washing someone’s hand; from the tremor of leaves to the trembling of a voice, along with the flapping of a bird’s wings in the distance, or again, the feedback loop between the performer’s chant and hand movements. Words in Spanish and English are traded on a rooftop as we get a glimpse of the Palace of Justice in the Brussels skyline. The Hand that Sings is an evocative, sensorial work that focuses on details and contemplation. Bodies, the landscape, and the camera act in reciprocal harmony.
The American artist curates an exhibition of works from the collection of “la Caixa” Foundation and CRT Foundation for Modern and Contemporary Art and turns them into a large environmental installation.
Many times has the “end” of painting been declared and just as many times its “rebirth” has been attested: with the desire to investigate the limits and contemporary potentialities of painting, from February 11 OGR–Officine Grandi Riparazioni–presents Cut a rug a round square, a new site-specific commission developed for the former industrial spaces of OGR Turin by the American artist Jessica Stockholder.
Chosen for her peculiar perspective, Jessica Stockholder has played over the last twenty years a crucial role in the ongoing debate on painting and its limits, expanding the concept in a relentless dialogue amid various media, between form and space, by forcing the limits of painting towards the sculptural and installation dimension.
In her work, the artist combines apparently disparate and ordinary objects to create complex installations that hoard and stratify materials and colors: plastic bags and containers, extension cords, lumber, carpets, and furniture: in her hands, these often-neglected objects recover aesthetic and formal qualities in a practice reminiscent of abstract expressionism, color field painting, and minimalism.
For the project set up inside Binario 1 of OGR Cult, the area of OGR dedicated to art and culture, the artist Jessica Stockholder converted into an exceptional curator and created a unique installation with works from two important collections: the Collection of Contemporary Art “la Caixa” of Barcelona, and that of the CRT Foundation for Modern and Contemporary Art, whose works are on permanent loan to the Turin museums Gam – Gallery of Modern Art and Castello di Rivoli, Museum of Contemporary Art.
To plan her route across the rich heritage at her disposal, the artist developed a concept that is both rigorous and poetic: “I am exploring how the generally rectilinear geometry inherent in the contour, or edge, of paintings, generates meaning both inside and outside the paintings. – states Jessica Stockholder – In relation to both their exposure and internal mechanisms, paintings make use of geometry and its resonance with the scale and form of the human body. (…) Casting a glance through the collections, I was struck by the many works in which the circle and square intersect. Often these works literally feature circles and squares themselves. I began to think of the representation of the human body as a kind of circle within the square, as in Leonardo da Vinci’s Vitruvian Man. The paintings are themselves usually characterized by rectilinear geometries. What happens inside pushes against the edges. The edges are both literal and abstract and are defined by the end of the material support, but the rectangle, identified as a mapping, is understood by virtue of abstraction.”
Combining works of disparate production and origin, the artist investigates the ways of painting and its categorical definitions across genre boundaries, studying its literal and metaphorical edges.
Works range from Directions by Vito Acconci, a photograph documenting the exhausting performance of a man with his arms and legs spread to evoke the Vitruvian Man, to Combustion by Aurelio Amendola, whose shots portray Alberto Burri in the act of melting plastic with a flashlight to create a circle in a square. From Bonded Eternmale, Monica Bonvicini‘s installation of two chairs covered in studded black leather exhibited on a circular red carpet, to A REMOVAL OF THE CORNER OF A RUG IN USE by Lawrence Weiner where written words protrude from the surface of the wall like paint does on his canvas. From 9 to 5 by Edward Ruscha, who painted the time cycle of a working day trapped inside a claustrophobic rectangle to Undercurrent (Red) by Mona Hatoum where the floor surface acts as a pictorial plane for a large carpet of electric cables. And again, among others, the works of Marlene Dumas, Richard Tuttle, Tracey Emin, Diego Perrone, and Jessica Stockholder herself, are exhibited in a display specially designed by the artist who succeeded in transforming the entire exhibition into a work of art in itself, a large environmental installation that evokes, in an experiential form, the clash between the circle and the square as an image of the productive clash between rationality and imagination, order and superabundance, body and idea.
Cut a rug a round square is an opportunity for the public to admire, in complete safety and free of charge, in the spaces of OGR, a treasure preserved by the city’s museums and enriched over the years by the CRT Foundation, with a newfangled interpretation from the point of view of an artist across the works of yet another international collection. The exhibition focuses on the theme of painting, dear to both collections, which have a rich heritage of pictorial works, by taking the cue from one of the most discussed and loved media – even by the more general audience. Cut a rug a round square reshapes the boundaries of this discipline and weaves a discourse that takes from the forms and phantasmagorias of painting, keys to reading the contemporary world, and invites visitors to lose themselves in a world of shapes and colors.
Jessica Stockholder (1959, Seattle, WA. Lives and works in Chicago, Illinois) has exhibited widely in museums and galleries internationally. Her work is in the permanent collections of numerous museums including the Whitney Museum of Art, New York; The Art Institute of Chicago; MoCA Los Angeles; MoMA San Francisco; the Museum of Fine Arts, Boston; The British Museum, London; and the Stedelijk Museum, Amsterdam. Recent solo exhibitions include Stuff Matters at the Central Museum, Utrecht and Relational Aesthetics at The Contemporary Austin, Austin in 2019.
From February 11 Free admission Thursday and Friday, 3PM – 8PM, last admission 7.30PM
OGR Cult, OGR – Officine Grandi Riparazioni
The traditionally physical medium comes to an online platform, featuring cutting edge artists from around the world.
Taby, a powerful new digital player in the art gallery scene, is proud to announce the launch of its second exhibition, The Digital Street. Conceived with the pandemic as a backdrop, Taby’s curator Emerson Radisich has carefully selected works from an international group of artists that are vibrant representations of our times. The new exhibition touches on several themes: the emotional reflections of dealing with the post-COVID era, the blending of our everyday lives with the digital realm, and thoughtful geo-political commentary, to name a few surface points.
The Digital Street engages the viewer on several levels, whether it’s the symbols of the collective unconscious tapped into by Polish artist Karifurava, representing our inner world, or the brutal honesty of Judy Rhum’s quarantine series, demonstrating the outward reality of how the structure of our daily lives has changed.
In keeping with Taby’s tradition of exhibitions benefiting charities associated with the theme of each show, CEO Mo Al Khater has selected Street Art For Mankind (SAM) as this exhibit’s recipient. SAM produces large murals, interactive exhibitions and live performances to support human rights and bond communities across the planet. The charity primarily focuses on fighting against child labor & trafficking and funding raid and rescue programs through the Kailash Satyarthi Children’s Foundation.
Show Description
Graffiti and street art is an ever-expanding and popular genre of artmaking that has found an increased role and dedicated significance during the coronavirus pandemic. It is a practice that has evolved entirely within the public realm, and often comes with the capacity to challenge, critique and contort both public places and public knowledge. At a time where museums, galleries and institutions have closed their doors, street artists have remained steadfast in their craft, and many artists from other genres have migrated to the medium to be able to continue to share work publicly.
Muralism today has seeped into many services throughout the art world; significant institutions regularly exhibit street art and graffiti shows, with artists such Banksy and KAWS–now household names who routinely break sales records at auction houses, and the aesthetic of graffiti is embedded in our society and spans advertising through to technical inclusions in fine artist’s practices, a process often referred to as Post-Graffiti.
Digital artmaking is no exception – several highly stylized comics, illustrators, designers and artists have appropriated the specific aesthetic qualities of graffiti and mark making, as well as the pursuit’s capacity to critique and challenge norms. The Digital Street seeks to examine these qualities through the works of artists globally. It presents an array of artmaking which utilizes digital reproduction in a graffiti-influenced style, and demonstrates a range of artists who openly critique the world around them within this particular practice – ultimately showcasing the beauty and necessity for graffiti in today’s climate.
The Digital Street features 18 works from 6 artists working around the globe:
Karifurava, Poland: is a Polish graphic designer, illustrator and fine artist currently based in Warsaw. Influenced by contemporary Eastern graphic designers and illustrators such as Keiichi Tanaami, his bold and colorful works explore mysticism, neo-religion, and the magical. Karifurava has exhibited extensively across the globe at galleries including Backwoods Gallery, Australia, and venues including VIKTAC, Poland.
Judy Rhum, Milan: a graffiti artist, illustrator and lecturer currently based in Milan. Her works are lucid and ludic, combining a playful and illustrative feel into the monumental platform that is graffiti. They are slick: graffiti with layered breakdowns, expanded geometric shapes and purposeful abstraction. Rhum is also the co-founder of Drinchendro, a Milan-based arts program.
Tom Gerrard, Australia: a graphic designer cum fine artist currently based in Melbourne, Australia. His unique practice involves the painting of simple characters, architecture and nature through a minimal color palette, where his works are often inspired by people he has met and places he has visited. Gerrard has exhibited work extensively across the globe at galleries including Stolen Space, London, RVCA, Tokyo and 1xRUN, Detroit.
Morris Vogel, Switzerland: a self-taught fine artist and illustrator currently based in Basel, Switzerland. Vogel examines surreal manifestations of politics, existentialism, awareness and human nature through a highly stylized black and white drawing style. His works have been exhibited at Kunsthallekleinbasel, Switzerland, Cvijeta Zuzorić Art Pavilion, Serbia and YOPE project space, Mexico.
Indie184is a New York-based artist who has been active in graffiti culture for over 2 decades. Influenced by abstract expressionism and pop art, her paintings are raptures of color and textures. Fused with her original graffiti and street art, imagery, and designs juxtaposed with personal messages, Indie’s art has been exhibited in galleries and museums worldwide, including El Museo del Barrio, New York and Völklingen Ironworks Museum, Saarbrücken, Germany.
Nini Sum is a mixed-media artist based in Shanghai, China. Her work depicts urban scenery and characters from everyday life in a captivating and surreal setting, which is strongly influenced by modern city life and eastern philosophy. The form of Nini’s work varies from silkscreen prints and mural paintings, to collage on canvas and album art. She is also the founder of IdleBeats, China’s first independent screen-printing studio.
About Taby
Taby is a premium digital art gallery specializing in contemporary art. We provide several rolling digital exhibitions throughout the year which bring together hand-selected quality artworks under a specific curatorial theme. Taby only exhibits exclusive, limited edition artworks, shipped to your door, which are designed and manufactured to the highest quality. Our objective is to provide every customer with an exceptional piece of art that is ready to hang as soon as it is unpacked. Alongside every digital exhibition, Taby also selects a charity related to the theme of that exhibition, which then receives a portion of our revenue.
Taby is a global team. We are artists, curators and seasoned collectors who have developed exhibitions and worked with galleries all over the world. Our mission is to make choosing and collecting contemporary art as simple as possible; this is why we provide ready to hang artworks through our premium printing, stretching and framing service, offering bespoke curatorial services so that every client is able to find an artist and artwork to match their collection, and partner with a range of specialists to select the best artists for each theme and series. We look forward to serving you.
Some of the world’s leading contemporary artists are invited to breathe new life into centuries-old glassmaking in Venice ― maestros of glassblowing from the legendary Berengo Studio residency help artists manifest their visions.
Among the 34 artists: Ai Weiwei, Fred Wilson, Joyce J. Scott, Jimmie Durham, Ugo Rondinone, Fiona Banner, Vik Muniz, Monica Bonvicini, Jake & Dinos Chapman, Laure Prouvost, Renate Bertlmann, Thomas Schütte, Loris Gréaud, and Erwin Wurm.
“There is every reason this year to have a world view,” says Irvin Lippman, the Boca Raton Museum of Art’s Executive Director, as South Florida boldly ushers in the new year with the national premiere of Glasstress 2021 Boca Raton.
“Three years in the making, with 2020 being such a challenging year to coordinate an international exhibition of this size and scope, the effort serves as an important reassurance that art is an essential and enduring part of humanity.”
“This is also a tribute to the resilience of Venice’s surviving the floods and continuing to make art through the pandemic,” adds Irvin Lippman.
The new exhibition runs January 27 through September 5, 2021 and the Museum will feature online initiatives for virtual viewing. Watch the video here featuring interviews with some of the artists in the new exhibition. The 34 artists in this new, never before seen edition of Glasstress were all invited by Adriano Berengo to work alongside his master glass artisans at the Berengo Studio on the island of Murano in the Venetian lagoon. Most of these works in glass have never been seen elsewhere, and were handpicked by Kathleen Goncharov, the Museum’s Senior Curator who traveled to Italy in 2019.
With incredible energy, the Studio has brought a new vision on how to stimulate today’s leading artists into thinking how the medium of glass can be made into dramatic and provocative works of contemporary art. Most of these artists have, during their careers, been invited to participate in the Venice Biennale. Some of the works were created during the pandemic lockdowns, with artists collaborating remotely via Zoom with their glass artisan partners after initial on-site work at the studio in Venice.
“Unlike the past and the present, what comes next for our world presents itself as constant possibility, always transforming as we move forward in time,” says Adriano Berengo. “This concept of transformation has always held an affinity with glass, a medium which – as the name Glasstress suggests – exists in a state of constant tension. Life needs tension, it needs energy, and a vibrant exchange of ideas.”
The exhibition presents 34 new works that explore some of today’s pressing subjects, including human rights, climate change, racial justice, gender issues and politics. The Boca Raton Museum of Art has dedicated more than 6,500 square feet of exhibition space to this collection. A fully illustrated catalogue is also available.
The mission of Glasstress is to restore the visibility and reputation of Murano glass, after decades of closures of ancient, centuries-old glass furnaces. Instead of creating decorative objects with glass, these artists are invited to create original works, often on a massive scale. They collaborate with glass masters whose expertise has been developed over generations in Venice. Most of these artists have never worked with glass, so they unite their artistic ideas with the technical expertise of their skilled collaborators.
The results are breathtaking. The first installation visitors to the Museum will encounter is Sala Longhi by Fred Wilson. He created this series at Berengo Studio after the Biennale exhibited his work about Black residents of Venice from the Renaissance to the present. This installation features an ornate white chandelier with 29 glass panels that mirror 18th-century Venetian artist Pietro Longhi’s paintings. Instead of canvases, Wilson shows the viewer only the whites of the eyes of his Black subjects through cutouts in black reflective glass.
“We have brought Glasstress to countries around the world for ten years, seeking to expand and enliven international awareness of the variety and richness of contemporary artists using glass in their creative practices,” adds Adriano Berengo. “In the past, its place in the art world might have seemed uncertain. But now in this latest edition of Glasstress, the first after a global pandemic, one thing we know for certain: glass endures. Life is fragile, just as glass is fragile, yet in this fragility there is also strength.”
“It is in this spirit of experimentation that Glasstress Boca Raton 2021 explores the limitless potential of glassblowing. “We realize how far we have come as we approach the 60th anniversary of the American studio glass movement that launched in 1962 through the efforts of Harvey Littleton and Dominick Labino,” adds Irvin Lippman. “This presentation of Glasstress is also a tribute to them.”
This show also unveils the Museum’s new acquisition for its collection, created in the Berengo Studio – Glass Big Brother, a sculpture by Song Dong, one of contemporary Chinese art’s leading figures. The large-scale ceiling installation is 11 feet long and reaches all the way to the floor. Thirty surveillance cameras are ensconced from top to bottom, looking out at all directions around the chandelier.
The installation Rosemarie’s Divorce, by Renate Bertlmann, unites aspects from Rosemarie’s Baby (1983), her multi-part installation about the ambivalent relationship between mother and child, and Discordo Ergo Sum, a field of knife-roses she exhibited at the Venice Biennale in 2019. The monstrously enlarged glass pacifier is an image she has used since the mid-1970s referencing sexuality and motherhood. It is flanked by two knife-roses made of deep black glass.
The Italian artist Monica Bonvicini’s deeply psychological work addresses themes of sexuality, power, and relationships in male-oriented domains. Her visits to sadomasochist nightclubs with Gay male friends are the inspiration for Bonded. She won the prestigious Golden Lion award at the 1999 Venice Biennale. DNA HAS NO COLOR is a new statement from Nancy Burson that is a powerful work about the illegitimacy of racism. This is a continuation of the project that Zaha Hadid commissioned Burson to develop for the London Millennium Dome. Burson is known for biology-related work, including her use of cutting edge facial morphing technology for art that shows what individuals would look like as a different race.
The Pandemic Oculus, (2020), by Tim Tate, whose work explores the worlds of loss, memory, recovery, and hope. As an HIV-positive man, he lived through the worst of the AIDS epidemic during the 1980s and 1990s, and now through the current pandemic. In the Museum’s exhibition catalogue, the artist states that Pandemic Oculus also honors the many unsung heroes around the world: nurses, teachers, essential employees, grandparents caring for children so that parents can work, and so many more. Tate is the co-founder of the Washington Glass Studio in Washington, DC. He is also the co-moderator, along with William Warmus, of the 21st Century Glass group on Facebook, which has shared and discussed over 10,000 images of sculptural glass from around the world.
Erwin Wurm’s wry sense of humor permeates his most famous works and has served him well in creating a poignant cultural commentary throughout his career. Wurm produced this triad in cold hard glass at the Berengo Studio. They are smaller versions of the massive bronze sculpture of a hot water bottle with legs, Big Mutter, that he created for the Venice Biennale in 2020. In the exhibition catalogue, the show’s curator Kathleen Goncharov describes these “mothers” as neither warm nor comforting . . . their stubby little legs imply flight when called upon to be caregivers.
At the Berengo Studio, Jimmie Durham created a series of eight giant cougar heads suspended on metal armatures. Caught in suspension as they gaze at one another, their collective roar remains frozen between them. The cougar is one of the most sacred animals in Cherokee mythology, and the influence of Native-American culture vs. Western rationalism is evident in his work. The artist’s long trajectory includes his work during the civil rights movement and as a political organizer for the American Indian Movement. In 2019, Durham was the recipient of the GoldenLion for Lifetime Achievement award at the 58th Venice Biennale.
In the Museum’s exhibition catalogue, curator Kathleen Goncharov describes Prune Nourry as no stranger to illness . . . her work always dealing with science and bioethics from a feminist perspective, a focus that has intensified since her breast cancer diagnosis in 2018. At the Berengo Studio, she created River Woman, a transparent skeletal sculpture based on an anatomical drawing of the human vascular system. While its form may be human, the arteries resemble rivers, streams and trees that suffer in their own way too, from human abuse rather than disease.
Ugo Rondinone represented his home country in the Swiss Pavilion at the 52nd Venice Biennale (2007). In this work, the twelve glass horses cast in beautiful shades of blue all face different directions, creating delicate light games with their reflections and shadows in continuous motion. In the context of this installation, the reappearing motif of a horse (which has a long tradition in the history of art), evokes alienation and a subversive twist emblematic of Rondinone’s works.
The Robert Grunenberg Art Gallery announces their upcoming solo exhibition by Brandon Lipchik. The show will open on Wednesday, September 9th, 2020 and will be available until October 24th, 2020 in Berlin. In response to regulations concerning COVID-19, the gallery is monitoring the situation and will adjust the opening event according to the rules of conduct. Please stay tuned.
Brandon Lipchik’s work investigates the process of digital collage and painting within subjects of the male nude, queer identity, and Americana. He is often thought about in context with other contemporary painters which investigates identity between the sum of both real and digital spaces. Lipchik uses 3-D modeling software and other digital tools to reconstruct and re-stage figurative settings as a means to begin the painting process. During the process of translation between digital compositions to paintings, Lipchik emphasizes the importance of discovering new possibilities with paint as influenced by digital screens. Opposed to reproducing the flatness that the digital screen provides, Lipchik emphasizes areas of tactile and physical qualities of paint to simultaneously engage in a dialogue between tactility of real-world experience and the flatness and immateriality of digital spaces.
GR Gallery is pleased to announce “Fake and Corny”, the first solo exhibition of CB Hoyo with the gallery, after two years of collaboration. The show will reveal, for the first time in a public exhibition, the latest series of artworks that the artist has been working on for months: the “Corny Quotes.” Appositely conceived for this occasion, these new works will irreverently crowd the gallery walls, offsetting the artist signature “fakes” paintings. The show will put together several original pieces executed with different media and in various sizes.
WHEN: Opening reception: Wednesday June 24, 6:00pm – 9:00pm
EXHIBITION DATES: June 25– July 18, 2020
WHERE: GR Gallery, 255 Bowery (between Houston & Stanton) New York, NY 10002 | info@gr-gallery.com | tel: +1 212 273 2900
“Fake and Corny” is a crucial show for the artist’s career since it will mark the end of, or at least a long break from, the series that characterized CB Hoyo’s artistic image: the “fakes’. For this special occasion all the Fakes exhibited will be inspired to artworks in NYC museums and private collections. At the same time will launch his new project leading toward a new period of his creativity. The exhibition aims to be a sort of liminal space in between two different artistic cycles, showcasing anthological examples of CB up to date vision, through his classical artworks, and overcoming it with the exclusive approach of his new inspiration, that will guide his future production.
Jackson Hole Fine Art Fair (JHFAF) closed its first edition on Sunday, September 15, 2019, with strong sales and high attendance. Over the four-day event, JHFAF reports about 2,000 visitors with $2 million in sales. JHFAF brought out some of Jackson Hole’s most prominent locals, as well as new visitors, all excited to see the museum-quality fair presented within Jackson Hole’s thriving arts community.
The fair presented 50 exhibitors who brought works that they felt matched the personal aesthetics of the Jackson Hole community. Works ranged in genre and price from world-renowned artists like Maynard Dixon, Ed Mell, Billy Schenck, Eanger Irving Couse, Thomas Hart Benton, Andy Warhol, Alexander Calder, Ed Ruscha and Sam Francis.
Fair Director Rick Friedman said, “Because JHFAF was the first international fine art fair in town, I think both collectors and exhibitors did not know what to expect. I’m so happy to report that all attendees I spoke to said it was far beyond their expectations. We heard the repeated comments, ‘loved it, fantastic, and terrific’ by fairgoers as they left the fair. We produced a multi-genre fair, with works within the Contemporary, Modern, Native American and Wildlife genres, with many of the early to mid 20th century pieces finding new homes. I see this as a breakthrough event that presented world-class and museum quality offerings across all of our showcased genres and I think the sales prove that. It was the wealthiest collectors as a percentage of the attendance of any of my fairs ever, over 10 years. ”
Exhibitors reported strong sales with Redfern Gallery, Nieto Fine Art, Mark Sublette Medicine Man Gallery, Montana Trails and Mongerson Gallery reporting mostly sold out booths.
Throughout the weekend, guests were treated to special programs and events including artist Q&A’s with Barbara Van Cleve, Donald Martiny, Larry Pirnie and Sarah Winkler. During the fair, JHFAF also produced a silent auction, which raised money for its institutional partner, The National Museum of Wildlife Art.
JHFAF presented several awards throughout the weekend including the 2019 Lifetime Achievement Award to the late John Nieto and the 2019 Art Collectors of the Year Award to Anne Phillip, the 2019 Sculptor of the Year award to Bart Walter and the Contemporary Artist of the Year award to Paul Villinski. Quotes from Galleries:
Local dealer, Miriam Diehl of Diehl Gallery said, “It’s been incredibly exciting to see an art fair of this caliber in Jackson Hole. It’s been wonderful to have so many like-minded dealers and the camaraderie among them has been amazing and encouraging. It’s been tremendously successful for us and we look forward to the second edition.”
John Nieto Gallery who was awarded the 2019 Lifetime Achievement Award for the late John Nieto said, “The visitors have been very quality. They know the work and the artist’s history. We’ve even had a lot of collectors who own Nieto’s work come by. There have been many great conversations about art.”
Rey Redfern of Redfern Gallery said, “The show has been much more than I expected. I’ve met a lot of people and I’ve sold a lot of paintings. They’ve been paintings I’ve had tucked away for a long time, but they’re high quality and that’s why they sold.”
Brenda Linscott from Endeavor Fine Art said, “We had a chance to bond with our space and develop a sampling of five of our artists who we’ve worked with for many years. It’s been so nice for us to see our artists in a visual conversation with other artists at the fair. To walk through the show and see what everyone else brought has been really incredible too. There really is room for everyone.”
Thomas Paul of Thomas Paul Fine Art said, “JHFAF did a great job putting this fair together with such an excellent variety of artists on display. It was so nice to see such a powerful exhibition of contemporary art brought to Jackson Hole.”
2019 Galleries: 917 Fine Arts (Miami Beach), Abend Gallery (Denver), Addison Rowe Fine Art (Santa Fe), NM Andrew Smith Gallery (Tucson), Bill Hester Fine Art (Santa Fe) Bonhams (LA, NYC, London), Calabi Gallery (Santa Rosa) Childs Gallery (Boston), Diehl Gallery (Jackson), The Directed Art Modern Gallery (Miami), Elizabeth Gordon Gallery (Santa Barbara), Endeavor Fine Art (Nashville), Faust II (Santa Fe, Scottsdale),Gail Severn Gallery (Ketchum), Gallery 1261 (Denver), Gary Snyder Fine Art (NYC, Bozeman),GF Contemporary (Santa Fe), Green River Stone Company (Logan), HG Contemporary Art (Flushing), ILIAD (New York), Imago Galleries (Palm Desert), J Klein Gallery (Scottsdale), James Compton Gallery (Santa Fe), K Contemporary (Denver), Kiechel Fine Art (Lincoln), L.A. Design (Missoula), Legend Nano Gallery (Carlsbad), Mai Wyn Fine Art (Denver), Mark Sublette Medicine Man Gallery (Tucson), Matthew Rowe Fine Art (Santa Fe), Maynard Dixon Museum (Tucson), Melissa Morgan Fine Art (Palm Desert) Mike Clark Fine Art (Billings), Nieto Fine Art (Rockwall), Patricia Qualls Contemporary Art (Carmel Valley), Peace Waters Collective (San Diego), Prescott Gallery & Sculpture Garden (Santa Fe), Redfern Gallery (Laguna Beach), Rehs Contemporary Galleries, Inc., (New York), Seagrave Gallery (Santa Cruz), Steidel Contemporary (Lake Worth), Stevens Fine Art (Phoenix), Studio Greytak (Missoula),T.H. Brennen Fine Art (Scottsdale), Tayloe Piggott Gallery (Jackson), Thomas Paul Fine Art (West Hollywood),Timothy Yarger Fine Art (Los Angeles), Waddell Gallery (Scottsdale), Walker Fine Art, LTD (New York), Wilde Meyer Gallery (Scottsdale), Woolff Gallery (London).2019 Sponsors: American Art Collector, artnet, Art Collector’s Athenaeum, Bonhams Auction House, Family Management Corporation, George B. Stroer Foundation, Grand Teton National Park, Jackson Hole Community Radio, Jackson Hole Conservation Alliance, Jackson Hole Public Art, Montanya Distillers, Mountain Living, 96.9 The Mountain KMTN Radio, The National Museum of Wildlife Art, Snow King Hotel, Teton Distillery, Wyoming Arts Council, Young’s Market Venue: Snow King Sports and Events Center (100 E Snow King Ave)
About Jackson Hole Fine Art Fair The Jackson Hole Fine Art Fair is the latest addition to the luxury, regional fairs produced under the leadership of Fair Director, Rick Friedman. Other fairs produced by Friedman include: the Hamptons, Aspen, Houston, San Francisco, Palm Springs, Silicon Valley and Philadelphia. JHFAF is excited to contribute to Jackson Hole’s vibrant arts community. 2019 Sponsors: American Art Collector, artnet, Art Collector’s Athenaeum, Bonhams Auction House, Family Management Corporation, George B. Stroer Foundation, Grand Teton National Park, Jackson Hole Community Radio, Jackson Hole Conservation Alliance, Jackson Hole Public Art, Montanya Distillers, Mountain Living, 96.9 The Mountain KMTN Radio, The National Museum of Wildlife Art, Snow King Hotel, Teton Distillery, Wyoming Arts Council, Young’s Market
