Art Blogs

14 October 2019

Art Blogs
  • Éric Baudelaire Wins Prix Marcel Duchamp, France’s Biggest Art Prize
    14 October 2019

    He is only the second filmmaker ever to win the $38,600 award. Read More

    The post Éric Baudelaire Wins Prix Marcel Duchamp, France’s Biggest Art Prize appeared first on ARTnews.

  • Contemporary Art, Mixed Media Abstract Painting, “The Gift” by Santa Fe Contemporary Artist Sandra Duran Wilson
    14 October 2019
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  • Painting a Supermarket Entrance
    14 October 2019
    I have painted around this supermarket many times, and I keep discovering new views of it. On a rainy day, I notice how the warm inside lights contrast with the cool light outdoors. 

    I have to push the painting through the “ugly stage” by having faith in the process. 


    The palette of colors is very simple: White gouacheYellow ochre (watercolor), Transparent red oxide (watercolor), and Ultramarine blue (gouache)


    In the choice of subjects, I am inspired by French philosopher Emile Zola, who encouraged artists to paint commonplace subjects from our own era. 

    He said: “The past was but the cemetery of our illusions: one simply stubbed one's toes on the gravestones.” (Le passé n'était que le cimetière de nos illusions, on s'y brisait les pieds contre des tombes.)



    Zola also said: "A work of art is a corner of creation seen through a temperament” (Une oeuvre d'art est un coin de la création vu à travers un tempérament).

    Somehow, by interpreting a subject that isn't often painted, it opens the doors to appreciating our world anew.
    -----
  • The Idiosyncratic Paintings of Maud Lewis, a Beloved Canadian Folk Artist
    14 October 2019
    Maud Lewis, “Untitled (White Cats with Blue Eyes)” (ca. 1965), oil on board, 13 3/4 × 15 15/16 in. (Private Collection, Nova Scotia, image courtesy McMichael Canadian Art Collection)

    KLEINBURG, Ontario — From her tiny cabin in rural Nova Scotia, the Canadian folk artist Maud Lewis painted exuberant country scenes onto particleboard, wallpaper, dustpans, or just about any flat surface she could find. She often returned to subjects that seemed to strike a chord with customers who purchased her paintings for just a few dollars: long-lashed oxen, wide-eyed cats, boats idling in the harbor. But a new exhibition of 120 of Lewis’s artworks at the McMichael Canadian Art Collection proves that she did not churn out these pieces by rote; the show highlights her inventiveness, humor, and the delightful quirks of her artistry.

    Lewis’s iconic cat paintings, seven of which are displayed side-by-side at the McMichael, offer a prime example of the breadth of her creativity. While her feline subjects often sit on green grass, surrounded by tulips, and crowned with blossoming branches, no two paintings are identical. Some cats are white, others black, still others are black-and-white. They appear alone, or grouped into clusters of three — typically, one large, two small. Vibrant tulips might burst into the foreground or delicately snake around the animals. Usually, the cats look mildly stunned, but in one rather curious painting (“White Cat,” 1965/66), a fluffy feline stares out at the viewer with grumpy eyes, its mouth pulled into a frown.

    Maud Lewis, “Paintings for Sale” (1950s), oil on wood, framed: 24 by 29 15/16 inches (Collection of CFFI Ventures Inc. as collected by John Risley)

    “A cynic might say, ‘Well, she’s just redoing the same thing over and over,’” Jennifer Withrow, head of exhibitions and publications at the McMichael, said in an interview. “But it’s really not the same thing. Why put a frown on a cat unless you want to sort of see what it looks like? I think there’s an earnest and playful creativity that’s behind every cat painting.”

    With Maud Lewis, the McMichael encourages a nuanced appreciation for an artist whose work has long been attached to reductive descriptors like “child-like” and “primitive.” The gallery is home to a robust collection of Canadian artworks, including some 2,000 works by members of the Group of Seven, arguably the country’s most iconic artists. Lewis may have operated on, or even outside of, the fringes of the art world, but the McMichael believes she deserves a place within its halls.

    “Maud Lewis is outside the cannon of artists that we associate with the story of art in Canada,” Withrow says. “And yet I think she’s a very worthy subject for an art exhibition, especially when we are reckoning with what made the canon in the first place, and what kind of advantages got you a spot as a revered artist … Maud Lewis certainly had no advantages. And yet she made a place for herself with the sheer force of her creativity. That’s really something.”

    Maud Lewis, “Cows Grazing Among Flowering Spruce” (1967), oil on masonite, 11 3/4 by 15 15/16 inches (Collection of CFFI Ventures Inc. as collected by John Risley, image courtesy McMichael Canadian Art Collection)

    Lewis worked in obscurity for many years, only garnering widespread recognition shortly before she died, thanks to a 1965 newspaper article and subsequent CBC documentary about her life and work. She has remained one of Canada’s most beloved folk artists; Maudie, a 2017 biopic starring Sally Hawkins and Ethan Hawke, gave her a recent boost in popularity. Today, a Maud Lewis painting might sell for upwards of $20,000, a price that was likely unfathomable to the artist in her lifetime.

    Born Maud Dowley in 1903 in the town of Yarmouth, Nova Scotia, Lewis suffered from juvenile arthritis that eventually bowed her spine, stiffened her neck, and gnarled her hands. She left school at 14 (possibly to escape her peers’ teasing), but her home life was pleasant. She and her mother would paint Christmas cards together and sell them door-to-door. Her father worked as a harness maker and blacksmith, and references to his vocations crop up frequently in her paintings. The world around her was quickly modernizing, but her rural scenes are populated with working animals and horse-drawn carriages.

    Maud Lewis, “Fisherman on Dock” (1958), oil on beaverboard (pulpboard), 11 5/8 by 13 3/4 inches (Private collection, image courtesy McMichael Canadian Art Collection)

    In 1928, Lewis gave birth to a baby girl out of wedlock and the child was swiftly placed with an adoptive family. Further blows came in the 1930s, when both her parents died within a span of two years. Soon after, she answered a newspaper ad for a housekeeper placed by Everett Lewis, a local fish peddler. They married in 1938 and spent the rest of their years together in Everett’s one-room cabin, without running water or electricity. Everett cut boards for Maud’s art, haggled with her customers, and took care of household chores so she could paint — which she did with gusto, covering the couple’s tiny home with tulips, birds, and butterflies. But he also purportedly ferreted away Maud’s earnings, hiding the money in jars that he buried in their garden. Maud lived in isolation and deprivation until her final days, succumbing to pneumonia in 1970.

    Discussions about Lewis often center on her remarkable biography; in the face of chronic pain and persistent hardships, she found beauty in her world. But the exhibition doesn’t dwell on Lewis’s history. Instead, it focuses on her recurring but creative use of various motifs and techniques. The show is organized by theme (for instance, seaside paintings, animal works, and holiday scenes), allowing the range of her oeuvre to shine through.

    Maud Lewis, “Two Deer in Snow” (1960s), oil on board, 12 by 12 inches (Collection of CFFI Ventures Inc. as collected by John Risley, image courtesy McMichael Canadian Art Collection)

    Seasonal changes play an important role in Lewis’s paintings. In one work (“Two Deer in Snow,” ca. 1960s), a deer and its fawn peer out from behind a stunted evergreen in a field of pearly snow, a bare, spindly tree hovering in the foreground. Still tucked behind an evergreen, the animals are transplanted into a second work (“Deer and Fawn,” 1964), this time in an autumnal landscape enlivened by red, yellow, and orange foliage.

    Yet Lewis wasn’t rigid in her depictions of the seasons; she toyed with nature, sometimes popping colorful autumn trees into winter landscapes or covering evergreens in cherry blossoms — a charming Lewis idiosyncrasy.

    She worked with a bold, basic palette. “[M]ost of these colors are straight out of the tube,” Withrow explained. But the effect is never cacophonous; Lewis  “created harmony in space through riotous contrast.” Red, pink, and orange houses rise up from bright white snow, while turquoise and yellow boats loll in brilliant blue waters. The exhibition also features striking experiments with color, such as a commissioned set of shutters with winter and summer themes. The shutters’ black backgrounds are a significant departure for Lewis, and make her chubby-cheeked snowmen and blooming flora appear all the more vibrant.

    Maud Lewis, “Pair of Oxen” (1940s), oil on board, 11 by 11 inches (Collection of CFFI Ventures Inc. as collected by John Risley, image courtesy McMichael Canadian Art Collection)

    Also painted on a black background is the famous “Paintings for Sale” sign that opens the exhibition; it originally hung outside the Lewises’ roadside home, where it could entice customers. Lewis rendered the lettering in stark white, and adorned the sign with a flowering tree branch surrounded by brightly colored birds and a yellow butterfly. It is little wonder that drivers pulled over to check out her wares. She knew how to catch the eye.

    Lewis’s work projects a sense of sincerity, an “incredible earnestness in her relationship with her subject,” as Withrow puts it. After all, Lewis painted largely from memory. “Because I don’t go nowhere … I just have to make my own designs up,” the artist herself once said. To view her work is therefore to take a jaunt through her imagination, where autumn trees grow in winter, horse-drawn buggies roll down country roads, and bucolic landscapes are electrified with color and an infectious sense of joy.

    Maud Lewis, “The Sunday Sleigh Ride,” oil on board, 9 by 12 inches (Collection of CFFI Ventures Inc. as collected by John Risley, image courtesy McMichael Canadian Art Collection)

    Maud Lewis continues at the McMichael Canadian Art Collection (10365 Islington Ave., Kleinburg, Ontario, Canada) through January 5, 2020.

    The post The Idiosyncratic Paintings of Maud Lewis, a Beloved Canadian Folk Artist appeared first on Hyperallergic.

  • Susan Roth: BLACK IS A COLOR, on View at the Sam & Adele Golden Gallery
    14 October 2019
    Photo Credit: Richard Walker Photography

    Susan Roth, a self-described non-objective painter, offers challenging eccentric outer profiles in many of the paintings in her exhibition BLACK IS A COLOR. The fourteen acrylic paintings exhibited range in date from 1982 through 2019, and trace her unique and individual approach to the shaping of the canvas as it responds to the compositional elements within. Roth takes full advantage of the range of acrylic paints and mediums and had the opportunity to work closely with Sam Golden, the founder of Golden Artist Colors, to create new acrylic products. Her paintings contain collaged canvas elements as well as the low relief provided by the acrylic paints.

    A Roth painting can have wildly demanding outer shapes that resemble the state boundaries, or they can be subtle trapezoids, or, though infrequently, conventional rectangles. Her choice of shape, whether extreme or adhering to recognizable rectangles, is generated by a wide range of non-traditional applications of paint. Roth’s paint is tactile, hyper-materialized, implying the dynamics of carving and modeling. Surface contrast abounds. Folded and bunched canvas, saturated with medium, are the billowing sleeves and gowns of sixteenth-century Venetian paintings made real.

    The title ‘BLACK IS A COLOR‘ reprises that of the post-World War 2 inaugural exhibition held in 1946 at Galerie Maeght in Paris entitled ‘le Noir est une Couleur’. Susan Roth has held close the idea of that exhibition as being one of the touchstones of Modernism. Apropos of the title: ‘BLACK IS A COLOR’, Roth has used saturated black paint in her paintings as a through-line for the emphasis of drawing in her working method.

    BLACK IS A COLOR by Susan Roth is on view at Sam & Adele Golden Gallery (188 Bell Road, New Berlin, NY) through March 13, 2020.

    The post <em>Susan Roth: BLACK IS A COLOR</em>, on View at the Sam & Adele Golden Gallery appeared first on Hyperallergic.

  • National Gallery of Ireland Awards Zurich Portrait Prize to Enda Bowe
    14 October 2019
    The National Gallery of Ireland has named artist Enda Bowe as this year’s winner of the Zurich Portrait Prize, an annual award that recognizes exemplary portraiture produced by artists from across
  • Julian Stanczak at Diane Rosenstein
    14 October 2019

    Artist: Julian Stanczak

    Venue: Diane Rosenstein, Los Angeles

    Exhibition Title: The Eighties

    Date: September 7 – October 19, 2019

    Click here to view slideshow

    Full gallery of images, press release, and link available after the jump.

    Images:

    Images courtesy of Diane Rosenstein, Los Angeles

    Press Release:

    Diane Rosenstein Gallery is very pleased to announce The Eighties, our third solo exhibition with Julian Stanczak. This installation of fifteen paintings made between 1982-1990 explores Stanczak’s skillful use of gradations of color and form to create a subtle experience of light. In essence and outlook they are also emotional landscapes, an effort to transcend the surface containment of the painting as object and connect with the viewer in a perceptual way.

    Stanczak lived and worked in Cleveland, Ohio, but wrote about the impact on his painting of his life as a Polish refugee in Uganda, and the simultaneous beauty of the African landscape. “When I see the dramatic shapes and colors of nature, observe their power, it triggers in me the need to translate these primordial forces.”

    Julian Stanczak (1928 – 2017) was an American painter and printmaker, and a pioneer of Op Art. His early life was marked by enormous personal struggle, and equally by his commitment to an uplifted outlook informed by art and music. He was born in Poland, and when World War II broke out, he was sent to a concentration camp in Siberia. In 1942, after his escape, he lived as a refugee in Uganda, where he learned to paint with his left hand (he lost the use of his right arm for good at the Siberian camp).

    He immigrated to the United States in 1950, received his BFA from the Cleveland Institute of Art in 1954 and MFA from Yale University in 1956, where he studied with Josef Albers and Conrad Marca-Relli. His work has been included in exhibitions in the U.S. and internationally from 1948 to the present day. Important group shows include The Responsive Eye at the Museum of Modern Art, New York, 1965; Paintings in the White House at the Smithsonian Institution, Washington, D.C., 1966; and Ghosts in the Machine at the New Museum, New York, 2012.

    Significant surveys of his work include Julian Stanczak: 50 Year Retrospective, Cleveland Institute of Art, Ohio, 2001; and currently, Full Spectrum: Paintings, Drawings and Prints of Julian Stanczak; Wood and Stone Sculptures of Barbara Stanczak, a retrospective at the Fort Wayne Museum of Art, Indiana.

    We gratefully acknowledge the assistance of Barbara Stanczak, Krzys Stanczak, Neil Rector, and Mitchell-Innes & Nash, NYC, in the organization of this exhibition.

    Link: Julian Stanczak at Diane Rosenstein

    Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider

  • Sunrise on Alcatraz
    14 October 2019

    LaNada War Jack, Sunrise on Alcatraz, 1970

    After the genocide and treaty-making period ended in 1871, Congress mandated that Native cultures, languages, customs, songs, dances, and ceremonies be illegal; this mandate lasted from 1880 to 1934. Native children were taken hostage, forced into government and Christian boarding schools to further ensure non-resistance by tribes. The physical, mental, and sexual abuse of these children led to a “cycle of dysfunction,” the trauma of which deeply affected future generations.

    Life on reservations also denied people the ability to hunt and gather throughout their territories. Under the 1934 Indian Reorganization Act, newly established Patriarchal tribal governments sped up the assimilation and acculturation process, which was particularly destabilizing for the tribes that still had Matriarchal systems in place. Many people starved. Inevitably they began to lose their understanding and respectful ways — the daily prayers, dances, songs, and ceremonies crucial to acknowledging the environment and respecting all life.

    Efforts to force Western civilization on Natives continued. In 1956 and throughout the 1960s, the Indian Relocation Act attempted to “assimilate Indians into the mainstream of American society,” sending young people into several of the largest US cities to aid the process of colonization.

    This initially successful policy backfired on the government when the “perfect storm” for activism developed in California universities. Natives who were relocated to the San Francisco Bay Area began to organize as identifiable coalitions, and many of the younger ones decided they wanted professional degrees; San Francisco State and the University of California, Berkeley were magnets for these youths, who joined other ethnic students to organize and implement their own “Third World Studies.” Ethnic Studies amplified the voices of people of color who had been marginalized by academic institutions and Western society at large. It was these students, myself included, who went on to liberate Alcatraz Island in peaceful protest of the government’s ill-treatment of Native people and broken treaties.

    As Chair of the Native students at UCB, I was the Native American representative for the Third World Strike, which saw the most violence against students of any campus strike during the ’60s. As the only female Third World Leader, my presence was important; despite this violence, there was no swearing, with the Third World Leadership on their best behavior.

    With Richard Oakes, chair of Native students at SFSU, we led our student groups and took Alcatraz with the knowledge that non-violent protests would send a more powerful message than violent ones, and would do more to protect those involved. Unfortunately, once the Occupation started, the media seized on traditional gender roles and identified Richard Oakes as the sole leader, even though he was present for the first six weeks, and I was left to continue the nineteen-month Occupation.

    The Occupation of Alcatraz was a pivotal moment for Native resistance, allowing Native peoples to take a stand against colonial powers and reconnect with their lost identities, cultures, and spirituality. It’s no coincidence that President Nixon is the first and only president to date who has taken positive action to support Native American Tribes, both in the cities and on the reservations. First, he stopped the Termination Policy PL280, which saw more than one hundred tribes dissolved throughout the country, and gave state governments complete control over tribes in California, Oregon, Washington, and Minnesota. Nixon initiated fifty legislative bills and tripled funding to reservations for tribal governmental operations, health and social services, education, and much more. Alcatraz Island was never transferred back to us, but we won through our re-identification as Native people, pushing through a political agenda that would never have happened without this significant protest for our survival.

    Now, here we are fifty years later, and our plight to overcome poverty, suicide, poor health, and education has slowly worsened to the point of crisis. The US has continued eroding civil rights, with Black and brown people discriminated against and killed because of the color of their skin. Concentration camps for Indigenous children and families, as well as refugees, are being implemented. Due to federal and state interference, justice continues to be denied to Native people. To name one example, 2016 saw the Standing Rock Resistance protest the desecration of Native lands, sacred sites, and resources, all of which stemmed from centuries of broken treaties and unjust laws. We will always defend and speak for the plants, animals, and natural elements because we still acknowledge a connection to the Earth; our elders warned us that if these things are destroyed, mankind is next. We are at a critical state with severe pollution of land, air, and water, and many individuals the world over have joined Native people in the struggle against these harmful forces. This fight is not only our fight, but that of all people.

    It is the intention of Indians of All Tribes and the Alcatraz Occupation to use its fiftieth anniversary to bring these concerns to the forefront, to stop this destruction and work for peace. We need all people and media for these events — including your many prayers.

     

  • Tales from the Crust. Portraits of extractive violence and resistance
    14 October 2019

    During a brief encounter with London two weeks ago, i visited as many exhibitions as i could. Only one made me want to write a review.


    Ignacio Acosta, Demonstration outside Antofagasta PLC Annual General Meeting. Church House, London, England, 2013


    Ignacio Acosta, Satellite views of Chuquicamata corporate mining town, c. 2011. Atacama Desert, Chile. From Miss Chuquicamata, The Slag

    Ignacio Acosta: Tales from the Crust at the Arts Catalyst on Cromer Street near King’s Cross St. Pancras is part of a programme of events investigating the politics of extraction across the planet.

    Acosta‘s work is the perfect introduction to the topic. The Chilean artist and researcher exposes mining practices through extensive fieldwork, collaborations with both experts and local actors, visual documentation and critical writing. His show at the Arts Catalyst focuses on the social and ecological impact of the extraction of a mineral that is crucial to modernity: copper. Copper is essential to the production of wiring, motors, domestic appliances, plumbing, electronics and of course renewable energy systems and green technologies. Yet, its extraction, refining and production have a detrimental impact on both ecologies and communities.


    Installation view from Tales from the Crust by Ignacio Acosta at Arts Catalyst, London, 2019; photo courtesy the artist

    The artist travelled to places such as Chile and Swedish Sápmi where social cohesion and the environment are threatened by copper mining. His images and texts focus not only on the damage made to communities and ecosystems but also on the local resistance to ruthless extractivist practices.

    “This multifaceted spatial narrative is populated by the overlapping voices of activists, indigenous people and archaeo-astronomers – bringing together a constellation of stances rooted in the distant to recent and present geographies of extraction, exploitation and trauma. Here, filmed interviews, close-ups of resilient landscapes and cartographies of global power expose forms of human and non-human resistance.”

    Each of these individual cases studies encapsulates what happens on the global scale when ecosystems and traditional ways of life “get in the way” of corporate greed and the hunt for resources.


    Installation view from Tales from the Crust by Ignacio Acosta at Arts Catalyst, London, 2019; photo courtesy the artist


    Rock samples and iron material from fieldwork conducted in Chilean and Swedish mining sites. Installation view from Tales from the Crust by Ignacio Acosta at Arts Catalyst, London, 2019; photo courtesy the artist


    Installation view from Tales from the Crust by Ignacio Acosta at Arts Catalyst, London, 2019; photo courtesy the artist


    Installation view from Tales from the Crust by Ignacio Acosta at Arts Catalyst, London, 2019; photo courtesy the artist

    I started the visit with the exhibition room that brings to light mining practices in Chile. The mining sector is one of the pillars of the national economy. The country provides the rest of the world with gold, copper, silver, molybdenum, iron and coal. Copper exports are particularly lucrative for Chile. Unfortunately, the water-hungry industry is concentrated in the arid north of the nation where it is threatening local ecosystems.

    Acosta’s research zooms in on one of the communities affected by mining: Los Caimanes, a small agricultural town in northern Chile fighting against mining giant Antofagasta Minerals which operates the Los Pelambres open pit copper mine. The mine piles up its tailings in water contained by the colossal El Mauro dam. It is the largest toxic site in Latin America with an estimated 3,500 million tonnes of waste expected to be stored behind its high walls.

    El Mauro dam is located above Los Caimanes where residents claim that the dam has dried up a local stream, contaminated underground water and thus deprived them of the fresh water necessary for agriculture. They now rely on trucks transporting water for sanitation and consumption.

    There is also a human cost to the mining activity: the division of the rural mountain community. People whose livelihood depend on farming are (rightfully) irritated by the appropriation and pollution of water. Others, who have benefited from new jobs and investment, accuse the farmers of standing in the way of economic growth and progress.


    Interview with Patricio Bustamente, 2019. Installation view from Tales from the Crust by Ignacio Acosta at Arts Catalyst, London, 2019; photo courtesy the artist

    The exhibition features a gripping interview with Patricio Bustamente. The researcher and activist was drawn to the issue because the mining activities were threatening archaeological sites. He was particularly concerned about the fate of the El Mauro site. Before the construction of the dam, the place was an oasis with a rich archeological heritage.

    He also commented on the complicity between the mining company and the Chilean authorities, highlighting in particular how people having close connections with the company are given positions of influence in the government.

    I particularly liked the translucent prints of Acosta’s photos that were covering the large windows of the Arts Catalyst gallery. I’ll only comment on two of them:


    Installation view from Tales from the Crust by Ignacio Acosta at Arts Catalyst, London, 2019; photo courtesy the artist


    Forest of Eucalyptus planted to absorb contaminated water from Los Palambres mine. From Antofagasta Plc. Stop Abuses! (from ‘Copper Geographies’), Pupio Valley, Chile, 2012 © Ignacio Acosta. Installation view from Tales from the Crust by Ignacio Acosta at Arts Catalyst, London, 2019; photo courtesy the artist

    One of the windows was covered with a photo of eucalyptus trees. They are not native from Chile but have been planted near Los Palambres for phytoremediation, a process that involves covering the surface of contaminated sites with plants in order to remove, degrade or isolate toxic substances from the environment. Which looks like a great solution to the degradation of soils caused by mining activities. However, (according to wikipedia and several other sources i consulted), Eucalyptus trees show allelopathic effects; they release compounds which inhibit other plant species from growing nearby. Outside their natural ranges, eucalypts are also criticised for sucking more water from the ground than some native tree species.

  • Rising Star Award
    14 October 2019
    Each year, we choose up to 10 rising stars to compete for our $5,000 Rising Star Award. Emerging performing artists with roots in Howard County can apply to be among the finalists who will perform at our Celebration gala — with the winner voted on by the audience! The competition is open to performers, both […]
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