Esther Perbandt has to be one of the most dynamic fashionistas of the modern day. Dressed in all black like the omen, she breathes fire into anyone in her line of sight. In fact, It’s one of the reasons why we all fell in love with her on Making The Cut. Recently, we literally bumped into her during a recent trip to Berlin. She’s an impressionable soul who breathes new life into someone who has been depleted by the daily grind or trauma. She moves like water, taking on the shape of whatever space she fills. “I would never have applied to the show because it’s really commercial,” Esther says of how she got on Making The Cut, “I was known in Berlin for being the arty Esther doing big fashion shows and theater. The word commercial was a no-go for me.” “When I read it (the invitation), I was like no way, not me,” luckily she didn’t answer right away, “but then I said: ‘Esther If you think twice, this is exactly what you need. Finally, the international attention.’ I was working my ass off at the time but it wasn’t really working.” The Queen of Black may not have won her Amazon Prime contest for a million dollars, but she’s certainly gained a million fans across the globe. Her supportive nature, loyalty, and tenacity have led to numerous collaborations, including the first-ever jewelry capsule with Adidas.
She admits that she isn’t as sustainable as she had hoped to be as a designer, but at least she is aware of her shortcomings. She does, however, state that she will drive two hours for locally sourced materials such as zippers made in Germany. “I have the goal to become sustainable or maybe 100% sustainable in ten years,” Esther states, “the vision of my brand in ten years is very digital, so I’m playing a lot with digital fashion…and also using it as a tool to become more sustainable.”
You’d have to be a fool to believe that this unpolished, meticulously engineered black diamond won’t have her moment to shine. Someone who has struggled on her path to success will eventually prosper. “People love to invite me to speak because I’m very honest,” Esther admits, “I talk about how bad it was sometimes that I was sleeping on the floor because I had to rent my apartment to get some money in, or how I had to take out large bank loans that I was almost unable to repay. But this is the life of a designer, and it was a decision. And it was also a decision not to have a family because I knew this job would be 24/7, and I wanted it and still want it.” Her passion for fashion, and meticulous attention to detail, combined with her monochromatic ensembles accented with gold accessories, will keep her on top. It is the reason why we celebrate her. Why we adore her. And how she takes on tasks at the drop of a hat – two collections per year, countless magazine covers, and speaking engagements in addition to Vogue editorials. Esther also held a solo exhibition of her artworks last year. “All of them were inspired by my collection. I used the same techniques and the same materials, but just created some 3D sculptures which you can put on the wall,” She explains. “I can’t focus solely on fashion for 365 days a year; I need some distractions,” Esther confesses. “So this art is part of it, and I’m hoping that this distraction will get me back into fashion, which is exactly what happened.” With so much talent at her disposal, she will stand the test of time, strangling fast fashion with her bare hands, just like her Avant trademarks. Her heart and keen ability to visually tell a story is what will propel her career forward.
ZEITZ MOCAA ANNOUNCES FULL ARTIST LINE-UP FOR HIGHLY ANTICIPATED EXHIBITION
WHEN WE SEE US: A CENTURY OF BLACK FIGURATION IN PAINTING
The survey exhibition features nearly 200 artworks from 154 artists
The exhibition, supported by Gucci, opens on 20 November 2022
This weekend, Zeitz MOCAA will be a flurry of activity as it not only presents its fundraising Gala, sponsored by Gucci, but also unveils a new survey exhibition that has been years in the making. Titled When We See Us: A Century of Black Figuration in Painting, the exhibition places a focus on painting, specifically works produced from the 1920s to the present.
“Over the last decade, figurative painting by Black artists has risen to a new prominence in contemporary art,” says Koyo Kouoh, Executive Director and Chief Curator at Zeitz MOCAA. “There is no better time for an exhibition of this nature, one that connects these practices and reveals the deeper historic contexts and networks of complex and underrepresented artistic genealogies that stem from African and Black modernities; an exhibition that demonstrates how multiple generations of such artists have revelled and critically engaged in projecting various notions of Blackness and Africanity.”
When We See Us: A Century of Black Figuration in Painting comprises an exhibition, publication and discursive programming that explores Black self-representation and celebrates global Black subjectivities and Black consciousness from pan-African and pan-diasporic perspectives. It boldly brings together artworks from the last 100 years, by Black artists working globally, into dialogue with leading Black thinkers, writers and poets who are active today.
The exhibition furthermore celebrates how artists from Africa and its diaspora have imagined, positioned, memorialised and asserted African and African-descent experiences. It contributes to critical discourse on African and Black liberation, intellectual and philosophical movements. The title of the exhibition is inspired by Ava DuVernay’s When They See Us, a 2019 miniseries. Flipping ‘they’ to ‘we’ allows for a dialectical shift that centres the conversation in a differential perspective of self-writing as theorised by Professor Achille Mbembe.
The exhibition, designed by Wolff Architects, features nearly 200 works of art by 154 artists from 28 countries, with the artworks loaned from 73 institutional and private lenders located in 26 countries. When We See Us celebrates the resilience, essence and political charge of Black joy. The exhibition is organised around six themes — The Everyday, Joy and Revelry, Repose, Sensuality, Spirituality, and Triumph and Emancipation. It is furthermore accompanied by a sonic translation, compiled by South African composer and sound artist Neo Muyanga.
Tandazani Dhlakama, the exhibition’s co-curator and Assistant Curator at Zeitz MOCAA, says: “This exhibition is a true reflection of the historic contexts of African and Black existence, with the oldest artist in the exhibition born in 1886 and the youngest in 1999. It amplifies a historical continuum of self-representation while highlighting important contributions towards a previously understated canon. Most importantly, it explores a broad range of artistic lineages, art schools and movements — and brings together a myriad of artists and their practice in dialogue for the first time (see full list of artists below).”
Published to coincide with the exhibition is a hardcover poetic catalogue by Thames and Hudson, in collaboration with Zeitz MOCAA, and edited by Koyo Kouoh. Richly illustrated with all the works selected for the exhibition, it includes a contextual essay by Dhlakama and four specially commissioned texts by acclaimed female writers Ken Bugul (Senegal), Maaza Mengiste (Ethiopia), Robin Coste Lewis (United States) and Bill Kouelany (Republic of Congo). In addition to the publication, on sale from 18 November at Zeitz MOCAA Shop and shop.zeitzmocaa.museum, the curatorial team have collaborated with the museum’s retail partner on a limited range of exhibition-related items, including T-shirts, tote bags and more.
Conceived in collaboration with the Institute for Humanities in Africa (HUMA) at the University of Cape Town (UCT), a parallel discursive programme provides theoretical framings of the project and is presented as a year-long, multi-vocal webinar series. The series brings together thought leaders from the continent and its thriving diaspora to address topics around global Black subjectivity and Black representation from the premise of artistic production and into the topical considerations relevant today.
Coordinated by Zeitz MOCAA Assistant Curator Thato Mogotsi, previous discussion topics included The Poetics of Black Figuration, Defining the ‘We’ & the ‘Us’, A Century of Black Figuration as Representation of Self and Black is Beautiful: Pan-Africanism & the Afropolitan Impulse in Contemporary Art, amongst others. Previous participants have included Prof Huey Copeland, Kimberly Drew, Keyna Eleison, Thelma Golden, Dr Felwine Sarr and Athi Mongozeleli Joja. The webinars are archived on the museum’s YouTube channel, with the next one taking place on Tuesday, 29 November.
The opening of the exhibition is preceded by the 2022 Zeitz MOCAA Gala Dinner + Party, supported by Gucci, acting as a catalyst and inspiration for the Gala’s theme of Art & Opulence. The Gala is Zeitz MOCAA’s largest development event of the year and its proceeds yield approximately 30% of the museum’s annual exhibitions and education budget. The event is essential to the institution’s mission of promoting art education and community engagement, and is further supported by the V&A Waterfront, Radisson Hotel Group, the Mail & Guardian, YourLuxury Africa, Terre Paisable, Pernod Ricard and Hidden Valley Wines, with BMW South Africa as the official vehicle partner.
The exhibition and accompanying publication have been made possible through the generous support of our presenting sponsor, Gucci.
When We See Us: A Century of Black Figuration in Painting will open to the public on Sunday, 20 November 2022. The Zeitz MOCAA Gala Dinner + Party, supported by Gucci and themed Art + Opulence, takes place on Saturday, 19 November 2022. For more information on the Gala and to purchase tickets, visit zeitzmocaa.museum or click here.
Zeitz MOCAA’s curatorial and exhibition programming is proudly supported by Gucci. All proceeds from the annual fundraising event go towards supporting curatorial research and education programming at Zeitz MOCAA.
Please find further media materials for When We See Ushere and here.
About Zeitz MOCAA
Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) is a public not-for-profit institution that collects, preserves, researches and exhibits contemporary art from Africa and its diaspora; conceives and hosts international exhibitions; develops supporting educational, discursive and enrichment programmes; encourages intercultural understanding; and strives towards access for all. The museum’s galleries feature rotating temporary exhibitions with a dedicated space for the permanent collection. The institution also includes the Centre for Art Education, the Centre for the Moving Image and The Atelier, a museum residency programme for artists living and working in Cape Town.
Zeitz MOCAA is situated at the Silo District, South Arm Road, V&A Waterfront in Cape Town, South Africa, and is open Tuesday through Sunday, 10 am to 6 pm. zeitzmocaa.museum
Founded in Florence, Italy, in 1921, Gucci is one of the world’s leading luxury brands, led by President and CEO Marco Bizzarri and Creative Director Alessandro Michele. Following the House’s centenary, Gucci forges ahead into the next hundred years, continuing to redefine luxury while celebrating the creativity, craftsmanship and innovation at the core of its values.
Gucci is part of the global luxury group, Kering, which manages the development of a series of renowned Houses in fashion, leather goods, jewelry and watches.
“The Spirit of Ecstasy continues to be our muse for the ongoing pursuit of excellence. She embodies what we as the House of Rolls-Royce stand for: strive for perfection, attention to detail and timeless beauty. It is fascinating to see our icon being transformed into these three very unique expressions, pushing technical and conceptual boundaries. I would like to thank Bi Rongrong, Ghizlane Sahli and Scarlett Yang for their extraordinary masterpieces celebrating a different dimension of our iconic figurine, manifesting the exciting future of textile design.”
Muse,the Rolls-Royce Arts Programme celebrates the global debut of the artworks created by the winners of the Spirit of Ecstasy Challenge. These three unique pieces are being exhibited at Cromwell Place, London, from 5 – 8 October 2022, before embarking on an international tour.
The Spirit of Ecstasy Challenge is a new biennial initiative that invites emerging artists from a range of disciplines to create artworks inspired the Rolls-Royce icon – the beautiful figurine that has adorned the bonnet of every motor car created by the marque since 1911. Each edition of the Spirit of Ecstasy Challenge will focus on a different medium, challenging participants to push technical and conceptual boundaries. The inaugural 2022 edition explores the potential of textiles, inviting artists to create textile-based artwork.
The winners – Bi Rongrong, Ghizlane Sahli and Scarlett Yang – developed three unique interpretations of the Rolls-Royce symbol. As part of the creative process, the artists met Rolls-Royce’s master craftspeople to exchange experiences before bringing their ideas and innovative creations to life.
Stitched Urban Skin (2022) is inspired by the multi-layered landscape of cities and their mesmerising reflections on the glossy surface of the Spirit of Ecstasy. Old and new are woven together: the artwork consists of three suspended layers of two-dimensional sheets made from specially treated metal, an animated LED light sheet and a Perspex sheet incorporating a material created using a traditional Chinese crochet technique. The use of metal in the work is inspired by the Rolls-Royce car surface and pays homage to the exceptional craftsmanship at The Home of Rolls-Royce. The piece draws on Bi’s encyclopaedic archive of urban imagery, utilising both ancient craftsmanship and innovative technologies, interlacing different locations and histories.
“This piece wasn’t inspired by a singular thing, it’s a blend of patterns connected to cities and nature – the way they grow is very similar. People see only what’s on the surface – the architecture and the trees – but underneath are hidden interwinding roots”, said Bi. She continued: “The Rolls-Royce team gave me full artistic freedom, encouraging me to try new things and be truly brave. I experimented and changed the whole piece many times, which eventually made it even more captivating. This experience has presented me with new possibilities and opened up a different perspective which I will bring into my future work”.
Resembling two triumphant wings about to take flight, Sahli’s artwork Nissa’s Rina(Woman’s Song) (2022) is a joyous celebration of femininity and freedom. The artwork explores the beauty of metamorphose and is composed almost entirely of salvaged materials: plastic bottles, plastic tubes, caps, covered with white silk and gold thread purchased from the artisans in Marrakech’s Medina and copper embellished with gold leaf. For Nissa’s Rina(Woman’s Song), Sahli adopts her signature technique of wrapping cut bottles in thread, the “Alveoli”, and building up each element into wing-like structures evocative of the Spirit of Ecstasy.
“The Spirit of Ecstasy – that elegant, free woman who crowns the most prestigious car in the world. A symbol of power, she opens her wings to take flight, and rules the world. What a synchronicity for me! She embodies everything that I would like to express in my life today”, – said Sahli. “Nissa’s Rina, Woman’s song, aims to express the elegance, the femininity, and the freedom of the Spirit of Ecstasy”.
Scarlett Yang’s Transient Materiality (2022)is ahybrid work that consists of a physical and digital piece. The 1-metre-high sculpture is made of intertwining ribbons of synthetic biopolymer produced with liquid particles collected from the ocean and bound with algae photosynthetic organisms. The sculpture’s form, surface and colour all reflect the natural world: its unique texture was inspired the subtle intricacy of animal skin patterns and the structural resilience of translucent dragonfly wings. Made by pouring the liquid bio-polymer into a 3D-fabricated mould, while the ribbons’ green and purple hues were created through experiments with spirulina and other natural components.
Suspended in the air, the piece mesmerizes with its shimmering, iridescent qualities – an ethereal expression of elegance, reminiscent of the flying gown of the Spirit of Ecstasy. The accompanying digital element is a video documentation of the creative process as well as digital renderings of the sculpture, set to a futuristic soundscape.
“My work consists in exploring the physical properties that nature gracefully offers and enhancing them through a conscious and circular use of technology. The piece ‘Transient Materiality” is ultimately meant to embellish the human body whilst serving a truly positive approach for the future of design”, – commented Scarlett Yang.
The artists, invited to create their proposals for the Spirit of Ecstasy Challenge, were nominated by an international expert committee. Their submissions were reviewed by a renowned jury consisting of Anders Warming, Director of Design, Rolls-Royce Motor Cars; Yoon Ahn, Creative Director of AMBUSH and Director of Jewellery at Dior Men; Tim Marlow, Chief Executive and Director at the Design Museum, London; and Sumayya Vally, Founder and Principal at Counterspace Studio, Johannesburg. In April 2022 Muse announced the three winners who were chosen to bring their concept to life with the Rolls-Royce support.
The Spirit of Ecstasy Challenge is the second commissioning initiative of Muse. While the Dream Commission supports artists working with moving-image art, the Spirit of Ecstasy Challenge celebrating the endless creativity within the world of materials and craftsmanship. Every two years, the Challenge will be repeated, each time exploring the limitless possibilities of a different medium key to Rolls-Royce craftsmanship, with the Spirit of Ecstasy serving as a point of inspiration.
Anders Warming, Director of Design, Rolls-Royce Motor Cars
About Muse, the Rolls-Royce Arts Programme
Muse is the Rolls-Royce Arts Programme, designed to foster and inspire creativity through collaboration with artists who share the marque’s passion for pushing technical and conceptual boundaries. Consisting of two ongoing biennial initiatives, Muse partners with some of the most respected and prestigious institutions in the world, such as Foundation Beyeler, Basel and Serpentine, London. Muse will provide selected artists with time and resource to produce art conceived, and to be experienced, without compromise.
Muse marks a new direction for the Rolls-Royce Arts Programme, which has, since its inception in 2014, invited Rolls-Royce patrons into the world of contemporary art. To date, leading artists Sondra Perry, Refik Anadol, Tomas Saráceno, Asad Raza, Dan Holdsworth, Isaac Julien, Yang Fudong, and Ugo Rondinone have collaborated with the Arts Programme.
About Rolls-Royce Motor Cars
Rolls-Royce Motor Cars is a wholly-owned subsidiary of the BMW Group and is a completely separate company from Rolls-Royce plc, the manufacturer of aircraft engines and propulsion systems. Over 2000 skilled men and women are employed at the Rolls-Royce Motor Cars’ head office and manufacturing plant at Goodwood, West Sussex, the only place in the world where the company’s super-luxury motor cars are hand-built.
Dreweatts is delighted to announce that it will be holding a charity auction in conjunction with celebrated contemporary artist Ann Carrington, to raise funds for Royal charity ‘The Queen Mother’s Clothing Guild’. For the auction, the artist has offered a unique work titled Pearly Queen of St. James’s Palace, a large-scale piece encapsulating the well-recognised image of a first-class postage stamp. The work is in white and natural acrylic and features pearl buttons hand-sewn by the artist onto a black canvas. It sits in a Perspex box frame and is estimated to fetch £10,000-£25,000 when it goes under the hammer in a public auction at wwww.dreweatts.comfrom November 1st – 22nd, 2022.
Commenting on this unique charity auction, the Guild’s Patron since 2003, HRH Princess Alexandra, the Hon. Lady Ogilvy, said: “I am very proud to be associated with the Queen Mother’s Clothing Guild as it celebrates the great achievement of 140 years of helping those in need. The Queen Mother’s Clothing Guild is so grateful to artist Ann Carrington for creating and donating this unique piece for auction, the proceeds of which will contribute significantly to the vital work of the Charity to provide more new clothing and bedding to those in need across the UK.”
On donating the work, contemporary artist Ann Carrington said: “I am very proud to have made this special Pearly Queen artwork for the 140th anniversary of the Queen Mother’s Clothing Guild. Hand-sewn from thousands of pearl buttons, each button represents the volunteer sewers and knitters whose hand-made contributions since 1882 have enabled the charity to grow and flourish. The iconic Queen image is symbolic of the Royal Patronage received by the Guild”.
Commenting on this unique sale, Will Richards, Deputy Chairman of Dreweatts, said: “Dreweatts are honoured and proud to be supporting the Queen Mothers Clothing Guild, one the UK’s longest established charities. Ann Carrington has created the unique Pearly Queen of St. James’s Palace, to represent the fact that the Guild was founded in 1882 when the Penny Black was in circulation. The auctioning of this generous gift by this internationally renowned artist, will help raise important funds for the Guild whose work, especially now, is critical to so many.”
The artwork is one of only 23 of its’ kind made by the artist, with the first one being snapped up by Jacob Rothschild for the Rothschild collection. One of the works was commissioned by Her Majesty the Queen, with her version being produced in red and gold. It was commissioned to accompany a banner also made by Carrington for Her Majesty’s Golden Jubilee. Other owners of works from this series include Elton John, Lulu Guinness and fashion designer Paul Smith, who all purchased them for their private collections. Carrington is also the only fine artist to hold a license from Royal Mail to produce artworks in the form of the postage stamp!
The sale offers the opportunity to bid for a unique work by the award-winning artist, as each from this series is totally unique. Every head and shoulders image of the Queen is drawn out separately, then sewn with buttons that fit that specific work, which means that all of the buttons are applied in a different way. Colours are also changed depending on the particular piece. The works in this group are all named after different areas of London that Carrington has lived or has special memories of and this particular piece carries the title of the Pearly Queen of St. James’s Palace due to its’ link to the charity.
Ann’s work has become increasingly popular in recent years, with commissions around the globe for private collections, such as; HRH, Her Majesty Queen Elizabeth II, HRH Prince Charles, The Duke of Westminster, Gwyneth Paltrow, Issey Miyake and Gordon Ramsay, amongst others. Her work is also held in many public and company collections including: The Victoria and Albert Museum, The United Nations, The Royal College of Art, The Design Museum, London, The Thames Diamond Jubilee Foundation and The Worshipful Company of Haberdashers, The National Trust, The Commonwealth Institute, Citibank, Waldorf Astoria, W Hotels, DAKS, Dunhill, Agent Provocateur and London’s fashionable Chiltern Firehouse.
The originality of her oeuvre is in the creative use of use of abandoned every-day items which are repurposed, as well as the use of multiples of objects to create pattern and interest, which is central to her function as an artist. She explains that “all objects are saturated with cultural meaning which, as an artist, I seek to explore, unravel and investigate. Mundane objects such as knives and forks, barbed wire, pins and paintbrushes come with their own ready-made histories and associations, which can be unravelled and analysed if rearranged, distorted or realigned to give them new meaning as sculpture”.
It is being donated by Carrington to raise funds for the Royal charity set up in 1882 by Lady Wolverton, whose friend Princess Mary Adelaide of Teck (mother of the future Queen Mary) became the Guild’s first Royal patron. In 1897 her daughter, the Duchess of York (the future Queen Mary) became the patron, having helped her mother with the charity since childhood. It has remained under Royal patronage to date, having been renamed several times, including in 1910 when Queen Mary (on becoming Queen Consort) renamed the charity ‘Queen Mary’s Needlework Guild’ and in 1914 established St James’s Palace as its’ headquarters.
The charity, which makes, sources and buys new clothing, sleeping bags, bedding and towels to give to British charities (such as babies and children in hospital, the homeless and refugees, the elderly and people in hospices and women and children in refuges), still receives, sorts and distributes the clothing and bedding at St James’s Palace today. Queen Elizabeth the Queen Mother served as their patron for almost fifty years (from 1953 until 2002). It was renamed again in 2010 as The Queen Mother’s Clothing Guild, its’ title today, as a tribute to her.
Speaking from The Queen Mother’s Clothing Guild, Hadley Denny explains: “The Queen Mother’s Clothing Guild is one of the UK’s oldest charities and from its’ foundation in 1882 its’ purpose has been to support those most in need. We respond to charities across the UK for clothing and bedding items that they have difficulty sourcing or funding themselves. We know that a gift of new clothing or bedding provides warmth and comfort, helping restore dignity and self-respect. Over the year The Queen Mother’s Clothing Guild fundraises in order to source and purchase large amounts of clothing and bedding and our many supporters and volunteers also lovingly hand make thousands of hats, gloves, scarves, clothes and blankets. Every autumn, as we have done for over 100 years, we hold an event at St James’s Palace in London, where we sort, count and pack all of the clothing and bedding, ready for collection by the various charities. Distributing in autumn works well for many charities as their needs are greatest in the winter months. We hope this generous donation of a stunning work by Ann Carrington will help towards our central goal, to help as many people as possible.”
Bonnie Lautenberg Channels the Creative Zeitgeist between Legendary Filmmakers and Iconic Artists: Intuitively Pairing them in “Art Meets Hollywood”
On view now at the Boca Raton Museum of Art until August 21st
The new exhibition “Art Meets Hollywood” is the museum premiere of Bonnie Lautenberg’s new series of digital collages, 28 diptychs pairing scenes from famous films alongside iconic works of art. Lautenberg’s only rule for her experimental process is that both the film and the artwork originated within the same year. On view now at Boca Raton Museum of Art, Lautenberg channels the creative zeitgeist between filmmakers and artists during each year that she intuitively chronicles, starting in 1928 up until 2020. Watch the video here featuring Lautenberg in conversation with Irvin Lippman, the Executive Director of the Museum.
In another work from this series, the terrifying scene she selects from the 1975 movie Jaws literally screams above a Willem De Koning painting that conjures blood spilling into the water (pictured above).
“Lautenberg pulls together visuals she feels speak to each other, taking us along on her colorful trip to explore how these two art forms have amazing parallels and are beautifully paired,” says Irvin Lippman, the museum’s executive director. “Through her careful considerations, she brings to life each moment in time and the spark of creativity these pairings might have shared. Lautenberg possesses a keen eye on the visual elements of humanity and culture that arise. The brilliance of these juxtapositions is how she illuminates the psychological connections between each film scene and artwork,” adds Lippman.
“Throughout art history, artists have always been influenced by some force going on in the world around them. I started thinking about how artists who work in different art forms might have influenced each other. I decided to explore how one art form can influence another,” says the artist Bonnie Lautenberg.
This new exhibition in South Florida, Art Meets Hollywood, opened at the Boca Raton Museum of Art concurrently with another celebration of films and artmaking, Art of the Hollywood Backdrop: Cinema’s Creative Legacy. Both shows together at the Museum are a dream come true for cinephiles.
Rave Reviews for Bonnie Lautenberg: Art Meets Hollywood
“The connections are often witty but are invariably imaginative” . . . “Lautenberg’s series is beyond clever; it also captures a synergistic zeitgeist — conscious or unconscious — between artists and filmmakers. If we’re lucky, we’ll be gifted with a Lautenberg mash-up for every year motion pictures have existed.” ― John Thomason, Boca Raton Magazine
“Lautenberg gets top marks for detecting connections we can only see in hindsight” . . . “Ms. Lautenberg has an intuitive process involving images that talk to each other. She plays matchmaker to the symbiotic relationships” . . . “The power of each frame remains in the connection shared by both.” ― Gretel Sarmiento, Palm Beach Florida Weekly
About the Artist
Bonnie Lautenberg is an esteemed artist, photographer and writer. Her work was recently shown at the Jean Albano Gallery in Chicago, and at David Benrimon Fine Art in New York, in the show Rethinking America alongside works by Warhol, Lichtenstein, Longo, Kass, and Ed Ruscha. To view her artworks and photography, visit BonnieLautenberg.com where the artist showcases images she has taken in Israel, Antarctica, Cuba, and around the world for the past 25 years.
About the Boca Raton Museum of Art
Founded by artists, Boca Raton Museum of Art was established in 1950 as the Art Guild of Boca Raton. The organization has grown, now in its eighth decade, to encompass a Museum, Art School, and Sculpture Garden. As one of South Florida’s leading cultural landmarks, the Museum provides educational programs and a robust exhibition schedule to the community, and to visitors from around the world. Support for #BocaMuseumatHome and #KeepKidsSmartwithArt virtual programming is provided by Art Bridges Foundation and PNC Grow Up Great.
Media Contacts: Jose Lima and Bill Spring, firstname.lastname@example.org
“AND ALL THAT JAZZ”! WORKS BY TRACY SUGARMAN – ARTIST TO THE MUSIC INDUSTRY,TO BE OFFERED AT AUCTION
September 2021. Artworks by the American illustrator, Tracy Sugarman (1921-2013), who documented some of the most momentous events in American history, such as Mississippi’s Freedom Summer of 1964 (a milestone in the civil rights movement in America) and images of World War II, will be offered in Dreweatts Modern and Contemporary Art sale on October 12, 2021.
As well as encapsulating historical moments in a unique way, Sugarman illustrated hundreds of books and record covers in a career spanning 50 years. The group of works coming up for auction spotlights Sugarman’s work for the music industry. Between 1954 and 1959 he produced more than a hundred album covers for the record labels Grand Award and Waldorf Music Hall Records. These were later reissued on CDS.
His illustrations were published in hundreds of magazines and books, as well being shown as on TV (PBS, ABC TV, NBC TV, and CBS TV). He was in high demand as a multi-talented artist, scriptwriter, producer, and author and won numerous awards from the Society of Illustrators in New York and the Art Directors Club in Washington, D.C. He was also a civil rights activist, something he also captured in his artworks.
While carrying out his commissions for the music industry he was given complete artistic freedom to create the works as he wished. Commenting he said: “I had been able to explore every medium from scratch-board to oils, from pastels to watercolors and seen them reproduced. I had captured Mahalia Jackson singing gospel and Knuckles O’Toole playing ragtime piano.” A work in 2007 marked the beginning of a lifelong love affair with jazz and the works in this sale show how he creatively captures the spirit and energy of Jazz.
In the Studio (lot 301)in its bright red hues, communicates the passion and vibrancy of Jazz and music in general. Dark lines contrast the colour, creating the shapes of the figures, resulting in a simple, but powerful piece. It carries an estimate of £400-£600. Portrait of a Trumpet Player (lot 299)by Tracy Sugarman captures a trumpet player in full flow. Created in wax crayon, the raw image brings the paper to life. It is estimated to fetch £400-£600. The Thinker (Lot 300) in wax crayon and watercolor shows the creative process and thinking behind the creation of music. In rough strokes Sugarman conveys all of this in a minimal way, creating the impact by its very simplicity. The work is estimated to fetch £400-£600.
More works by Sugarman can be seen in the online catalogue, follow the link here
The Untitled Space is pleased to present “DEFINING FORM,” a group exhibition of contemporary artists exploring 2 and 3-dimensional sculpture opening on July 11, 2018 and on view through August 1st, 2018. Curated by Indira Cesarine, “DEFINING FORM” takes a comprehensive look at the manifestations of contemporary sculpture today, engaging a dialogue of the narratives resonating amongst sculptors through works in mediums such as metal, stone, clay, wood, glass, textiles, recycled and repurposed materials, as well as mixed media.
DEFINING FORM presents figurative and abstract works by over 50 emerging and established artists. The group show investigates progressive themes in sculpture, including contemporary feminism, gender identity and political art, as well as new technologies in digital sculpture, with an emphasis on originality and innovative usage of materials. Technological advances in fabrication and digital sculpture have had a massive impact on the art form over the past few decades. Classic techniques such as chiseling stone and casting in bronze have shifted towards new technologies such as 3-D printing, materials such as silicone, plastics, and textiles as well as found, recycled and re-purposed materials. The domination of large-scale works has given way to delicate and intimate pieces as well as a wave of sculptural installations that deconstruct notions of space and form. Artists are pushing the boundaries of the art form integrating components of sound, video, light and performance as well as painting, photography and other mediums.
As the art form evolves in new directions with the impact of contemporary culture, it has transcended from the conventional portrait to works that challenge the status quo, address gender identity and racial stereotypes, LGBTQ ideologies and queer constructs, explore themes of the resistance movement as well as progressive feminist narratives and activism. Exhibit DEFINING FORM presents the new narrative of sculpture with works that interrogate ideologies of the art form, pushing forward experimental works that engage all of our senses and ignite fresh dialogues.
Alexandra Rubinstein, Andres Bardales, Ann Lewis, Arlene Rush, Barb Smith, Christina Massey, Colin Radcliffe, Cristin Millett, Daria Zhest, Desire Rebecca Moheb, Dévi Loftus, Elektra KB, Elizabeth Riley, Emily Elliott, Gracelee Lawrence, Hazy Mae, Indira Cesarine, Jackie Branson, Jamia Weir, Jasmine Murell, Jen Dwyer, Jennifer Garcia, Jess DeWahls, Jocelyn Braxton Armstrong, Jonathan Rosen, Kacy Jung, Kate Hush, Kelsey Bennett, Laura Murray, Leah Gonzales, Lola Ogbara, Maia Radanovic, Manju Shandler, Meegan Barnes, Michael Wolf, Nicole Nadeau, Olga Rudenko, Rachel Marks, Rebecca Goyette, Ron Geibel, Ronald Gonzalez, Roxi Marsen, Sandra Erbacher, Sarah Maple, Seunghwui Koo, Shamona Stokes, Sophia Wallace, Stephanie Hanes, Storm Ascher, Suzanne Wright, Tatyana Murray, Touba Alipour, Whitney Vangrin, Zac Hacmon
“What is sculpture today? I invited artists of all genders and generations to present their most innovative 2 and 3-dimensional sculptures for consideration for DEFINING FORM. After reviewing more than 600 artworks, I selected sculptures by over 50 artists that reflect new tendencies in the art form. DEFINING FORM artists defy stereotypes with inventive works that tackle contemporary culture. Traditionally highly male dominated, I was inspired by the new wave of female sculptors making their mark with works engaging feminist narratives. The artworks in DEFINING FORM explode with new ideas, vibrant colors, and display a thoroughly modern sensibility through fearless explorations of the artists and unique usage of innovative materials ranging from fabric, plastic, and foam to re-purposed and found objects including chewing gum, trash and dirt. Recycled materials are celebrated along with works engaging new digital technologies. The exhibit displays works that are politically charged, contrasted with those full of satire and humor. In the investigation of new tendencies, I felt it was important to juxtapose figurative works with the abstract, new materials with the classics, creating an immersive exhibit that defines new trends in sculpture and contemporary constructs of the art form.” – Indira Cesarine
Critically acclaimed exhibition ONE YEAR OF RESISTANCE returns this April with a benefit auction hosted by ARTSY. Celebrate art for activism with works by more than 65 emerging and mid-career artists including Ann Lewis, Grace Graupe-Pillard, Rebecca Leveille, Michelle Pred, Indira Cesarine, Signe Pierce and Parker Day, among many others. Every work sold goes toward supporting the American Civil Liberties Union (ACLU) and its mission to defend and preserve the rights and liberties guaranteed by the constitution of the United States.
The ARTSY benefit auction features artwork across all mediums addressing the issues our society has been confronted with such as immigration rights, health care, reproductive rights, climate change, transgender rights, white supremacy, gender equality, gun control and more. It will additionally feature many new works by artists of the ONE YEAR OF RESISTANCE exhibition.
Bidding opened today at 12 noon and will close on April 19th at 5pm! Head over now to bid and help raise funds for the ALCU.
ONE YEAR OF RESISTANCE BENEFIT AUCTION ARTISTS:
Alexandra Rubinstein, Alyson Provax, Ann Lewis, Anna Rindos, Annika Connor, Anya Rubin, Bradford Scott Stringfield, Cabell Molina, Camilla Marie Dahl, Danielle Siegelbaum, Daryl Daniels, Desdemonda Dallas, Desire Moheb Zandi, Dessie Jackson, Diana Casanova, Dolly Faibyshev, Domenica Bucalo, Eleni Giannopoulou, Elisa Garcia de la Huerta, Elise Vazelakis, Erin Victoria Axtell, Fahren Feingold, Gabriela Handal, Grace Graupe Pillard, Hannah Stahl, Indira Cesarine, James Hsieh, Jamia Weir, Jamie Martinez, Jen Dwyer, Joanne Leah, Joel Tretin,Kate Hush, Katya Kan, Kristin Malin, Kristin O’Connor, Leah Schrager, Leslie Kerby, Leslie Sheryll, Lola Jiblazee, Lola Ogbara, Manju Shandler, Marne Lucas, Mary Tooley Parker, Michael Reece, Michele Pred, Miss Meatface, Nichole Washington, Olga Filippova, Olive Allen, Panteha Abareshi, Parker Day, Rada Yakova, Rebecca Leveille, Rosary Solimanto, Rosemary Meza-DesPlas, Rute Ventura, Sarah Dillon, Signe Pierce, Stephanie Hanes, Tatana Kellner, Tommy Mitchell, Touba Alipour, Valerie Carmet, Valery Estabrook, Vanessa Teran, Yuri Murphy