Highbrow Magazine - Contemporary art https://www.highbrowmagazine.com/contemporary-art en Marta Minujin Is a Tsunami of the Art World https://www.highbrowmagazine.com/24523-marta-minujin-tsunami-art-world <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Fri, 03/15/2024 - 18:32</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1minujin.jpg?itok=AWm98sNj"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1minujin.jpg?itok=AWm98sNj" width="477" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p><span style="font-size:16px"><span style="font-family:Times New Roman,Times,serif">Marta Minujín in Paris, with her first multicolored mattresses, 1963. Marta Minujín Archive. © Marta Minujín, courtesy of Henrique Faria, New York and Herlitzka &amp; Co., Buenos Aires.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Some artists make a splash from their first entrance. With enough talent, timing, and tenaciousness it’s almost a given. In the case of Argentinian-born Marta Minujin, she possesses all those attributes and more. Over a six-decade career that embraced soft post-war soft sculptures, large-scale fluorescent paintings, psychedelic drawings, and pioneering pop art performances, she has collided head-on with her critics. She was and remains, without exaggeration, a human tsunami of the art world.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Thanks to impeccable timing and foresight, the <a href="https://thejewishmuseum.org/press/press-release/marta-minujin-press-announcement" style="color:blue; text-decoration:underline">Jewish Museum</a> has mounted the first major survey exhibition of this Latin American artist. <em>Marta Minujin: Arte! Arte! Arte!</em> includes nearly 100 works drawn from the artist’s archives in Buenos Aires as well as private and institutional collections. With eye-popping precision, the exhibit charts not only her early experiments and ephemeral happenings in her home country but time spent in Paris, New York, and Washington, D.C. It’s a whirling kaleidoscope of delight.</span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/2minujin.jpg" /></p> <p><span style="font-family:Times New Roman,Times,serif"><span style="font-size:16px">Marta Minujín, AMANACER EN PATAGONIA (SUNRISE IN PATAGONIA). 2012. Acrylic and tempera on hand-cut mattress fabric strips glued with vinyl adhesive on canvas. 94½ × 94½ in. (240 × 240 cm). Collection of the artist. © Marta Minujín, courtesy of Henrique Faria, New York and Herlitzka &amp; Co., Buenos Aires.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Born in 1943, her indomitable spirit and irreverent in-your-face response to authority was shaped early on as her native Argentina seesawed between democracy and dictatorship. By the time she was 25—despite a brutal military junta that held sway until 1983—she was caught up in an explosion of arts in the culture. Her cry of “Arte! Arte! Arte!” resounded across continents.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">One of the earliest works on display is a vibrant abstract painting inspired by <em>Vivaldi’s Four Seasons</em> (1959). One of three such works based on classical music, Minujin soon moved away from painting’s formalism, only to return later with the vibrancy of color as a signature element.  </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/3minujin.jpg" /></p> <p><span style="font-size:16px"><span style="font-family:Times New Roman,Times,serif">Marta Minujín, Colchón (Mattress), 1964, restored in 1985, acrylic, tempera, and lacquer on mattress fabric with foam rubber, 59 × 34¼ × 21¼ in. (150 × 87 × 54 cm). Collection of Jorge and Marion Helft, Buenos Aires. © Marta Minujín, courtesy of Henrique Faria, New York and Herlitzka &amp; Co., Buenos Aires.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">An early ‘60s example of the use of color is evidenced in her mattresses. Fluorescent stripes cover foam-rubber biomorphic shapes. Her core interest in mattresses is explicit in this quote from the exhibit: “Half of your life takes place on a mattress. You are born, you die, you make love, you can get killed on the mattress. That’s why mattresses are so important.” The medium has remained an obsession with such works as <em>Soft Maze</em> from 2010, the fabric splayed with neon bars.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Her Paris years became the site of inflammatory performances where the ephemerality of her creations was the whole idea. With <em>The Destruction</em>, fellow artists like Niki de Saint Phalle and others were invited to cut and manipulate her shapes that were then set on fire so they would not end up in “cultural cemeteries.”  A digital slideshow reproduces one of these events. The counter-culture movement in the mid-60s in New York inspired her to return to Buenos Aires, introducing the music of Jim Hendrix and Janis Joplin, along with psychedelic projections and black lights, to the uninitiated.</span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/4minujin.jpg" /></p> <p><span style="font-size:16px"><span style="font-family:Times New Roman,Times,serif">Marta Minujín inside Implosion!, Pinacoteca de São Paulo, 2023. Photograph by Beto Assem. Courtesy Marta Minujín Archive.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Another series of photos pairs the artist with Andy Warhol in a playful vignette, wherein the two sit surrounded by ears of corn, “the Latin American Gold” to symbolize the means whereby Argentina could repay its loans to the U.S. Another later performance piece, performed in New York City in 1977, uses boxes of grapefruits strewn about the space by bucket-headed actors. Under a heading of “Agricultural Art in Action,” it raises the age-old question, “But Is It Art?”  It is fairly certain that such issues were of little or no concern to the artist then or now.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Rejection was second nature to Minujin. While living in Washington in the early ‘70s, her paintings resurfaced in a <em>Frozen Sex</em> series using a pink, red, and violet palette. Though her giant semi-abstract shapes seem harmless by today’s standards, in Argentina, the same exhibit was shut down by the police three hours after its opening.  </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/5minujin.jpg" /></p> <p><span style="font-size:16px"><span style="font-family:Times New Roman,Times,serif">Marta Minujín, Sin título (Untitled), 1974, from the series Frozen Sex, 1973–75, acrylic on canvas, 50 × 50 in. (127 x 127 cm). Collection of Ama Amoedo. © Marta Minujín, courtesy of Henrique Faria, New York and Herlitzka &amp; Co., Buenos Aires.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">If rejection was one thing, risk taking with expansive public installations was another one entirely.  After the fall of Argentina’s dictatorship, she installed <em>The Parthenon of Books </em>in the heart of Buenos Aires, comprising more than 20,000 publications banned by the military, and redistributed to the public at the exhibit’s close. In 2017, on the original site of a Nazi book burning in Kassel, Germany, she restaged the work. On the back wall of this exhibit, rows of banned books are on display as a reminder of such consequences to the culture.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In a more philosophical turn, toppling public monuments on their side was another way to diminish the power of the vertical in architecture. Bronze reproductions of the Statue of Liberty, a fragmented Venus de Milo and even Big Ben came under her scrutiny. In 2021 a half-size horizontal replica made of books called <em>Big Ben Lying Down</em> was exhibited in Piccadilly Gardens, Manchester. Once again, visitors were allowed to destroy the sculpture by taking away the books.  </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/6minujin.jpg" /></p> <p><span style="font-size:16px"><span style="font-family:Times New Roman,Times,serif">Marta Minujín, La Torre de Babel con libros de todo el mundo (The Tower of Babel with Books from All over the World), Buenos Aires, 2011. Photograph. Marta Minujín Archive. © Marta Minujín, courtesy of Henrique Faria, New York and Herlitzka &amp; Co., Buenos Aires.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">A separate lighthearted installation pulls the viewer inside an enclosure tent, where psychedelic colors assault the senses on walls, floor, and ceiling. This total immersion is a dizzying experience for the older set but during my visit, a young boy, accompanied by his mother, seemed totally at home in this Alice in Wonderland world. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">A video from the artist’s performances in her studio demonstrate the same irreverence and sense of fun. During the Covid quarantine, she donned various masks, human and animal, as well as one of her familiar jumpsuits, cavorting in front of the camera for her Instagram fans.</span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/7minujin.jpg" /></p> <p><span style="font-size:16px"><span style="font-family:Times New Roman,Times,serif">Marta Minujín and Andy Warhol, El pago de la deuda externa argentina con maíz, “el oro latinoamericano” (Paying Off the Argentine Foreign Debt with Corn, “the Latin American Gold”), the Factory, New York, 1985 / 2011, Chromogenic color print, 36 3/8 × 39 1/4 in. (92.4 x 99.7 cm). Collection of the artist. © Marta Minujín, courtesy of Henrique Faria, New York and Herlitzka &amp; Co., Buenos Aires.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Fearlessness remains a byword for artists like Minujin. She and other contemporaries like Judy Chicago and the Serbian performance artist Marina Abramovic make no apologies for where their artistic journeys may take them. Minujin’s maxim that “Everything is art” has sustained her well. Whether her audience embraces such an egalitarian philosophy or not is hardly the point. She wakes us up from a comfortable sleep, like that insistent rooster in the farmyard, and isn’t that what it’s all about? </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/8minujin.jpg" /></p> <p><span style="font-size:16px"><span style="font-family:Times New Roman,Times,serif">Marta Minujín, Untitled drawing from the X×Y series, 2019-23, marker and pencil, 16 9/10 x 22 2/5 in. (43 x 57 cm). Collection of the artist. © Marta Minujín, courtesy of Henrique Faria, New York and Herlitzka &amp; Co., Buenos Aires.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Marta Minujin: Arte! Arte! Arte! is on view at the <a href="https://thejewishmuseum.org/press/press-release/marta-minujin-press-announcement" style="color:blue; text-decoration:underline">Jewish Museum</a> through the end of March 2024. (All images are courtesy of the museum.)</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Sandra Bertrand is</em> Highbrow Magazine’s <em>chief art critic.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/marta-minujin" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">marta minujin</a></div><div class="field-item odd" rel="dc:subject"><a href="/jewish-museum-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the jewish museum</a></div><div class="field-item even" rel="dc:subject"><a href="/art-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">art exhibits</a></div><div class="field-item odd" rel="dc:subject"><a href="/minujin-exhibit" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">minujin exhibit</a></div><div class="field-item even" rel="dc:subject"><a href="/argentinian-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">argentinian art</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-york-art-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new york art exhibits</a></div><div class="field-item even" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item odd" rel="dc:subject"><a href="/arte-arte-arte" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">arte arte arte</a></div><div class="field-item even" rel="dc:subject"><a href="/latin-american-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">latin american artists</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Sandra Bertrand</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div><div class="field field-name-field-videos field-type-video-embed-field field-label-hidden"><div class="field-items"><div class="field-item even"> <div class="embedded-video"> <div class="player"> <iframe class="" width="640" height="360" src="//www.youtube.com/embed/tTNO_majYNE?width%3D640%26amp%3Bheight%3D360%26amp%3Bautoplay%3D0%26amp%3Bvq%3Dlarge%26amp%3Brel%3D0%26amp%3Bcontrols%3D1%26amp%3Bautohide%3D2%26amp%3Bshowinfo%3D1%26amp%3Bmodestbranding%3D0%26amp%3Btheme%3Ddark%26amp%3Biv_load_policy%3D1%26amp%3Bwmode%3Dopaque" frameborder="0" allowfullscreen></iframe> </div> </div> </div></div></div> Fri, 15 Mar 2024 22:32:20 +0000 tara 13108 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/24523-marta-minujin-tsunami-art-world#comments Judy Chicago’s Story and More than 80 Others at the New Museum https://www.highbrowmagazine.com/24212-judy-chicago-s-story-and-more-80-others-new-museum <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 12/07/2023 - 11:17</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1judychicago.jpg?itok=4UxxuOsE"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1judychicago.jpg?itok=4UxxuOsE" width="360" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Judy Chicago gets the bigger picture. The current exhibit <em>Judy Chicago: Herstory </em>at the New Museum is a testament that existence is never simply about the self, no matter how star-studded one’s role in society.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In Lauren O’Neill Butler’s excellent publication <em>Let’s Have a Talk: Conversations with Women in Art and Culture</em>, Chicago sustained herself by “understanding where I am and where we are in history. This isn’t about giving white middle-class career women more rights. This is about a fundamental change on our planet. And art is part of this larger struggle.” </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/2judychicago.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">This is a show of moving parts – the creative, ever-changing cycles of a restive, never totally satisfied artist with her successes. Through a constant exploration of mediums, she embodies the classic example of “going out on a limb” to achieve one’s aims.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">After completing her B.A. in 1962 and M.F.A. in 1964 at UCLA, she enrolled in auto-body school, not surprisingly the only woman among 250 male students. The series <em>Hoods </em>(1964-65) shows what real talent can do with aerosolized pigments. Her embellishments included hearts, genitals, ovaries, and butterflies, to name a few.  These objects became her own fender-benders to the Minimalist movement of the day.</span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/3chicago.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Worth noting was her decision upon the opening of her 1970 solo exhibition at California State College, Fullerton, to change her name from Judy Gerowitz (her first husband’s) to Chicago (the city of her birth). No subtlety in this subjective switch to divest herself of names imposed through male dominance. A series of luminous round shapes, <em>Pasadena Lifesavers</em> in blue, red, and yellow express a growing female iconography in her work. Don’t be fooled by the titular suggestion. For Chicago, they represented the dissolving sensation of female orgasm.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Her mastery of auto-body spraying wasn’t the only male-dominated practice she embraced. Upon entering the gallery room of pyrotechnic imagery, the viewer is assailed by a series of performance works (<em>Atmospheres </em>1968-74) -- photographs and films carried out using smoke machines, road flares, and the like across the Southern California landscape. In one example, <em>Goddess with Flares</em>, the artist has no qualms about playing with fire to reach her creative aims.</span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/5judychicago.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">To address the marginalization in art schools many women felt, Chicago established the Feminist Art Program at Fresno State College in 1970. When it was moved to the California Institute of the Arts in Valencia, one of its groundbreaking offshoots was “Womanhouse” set in a dilapidated Hollywood mansion combining performance installation and craft techniques to express women’s experiences. A growing visual vocabulary began emerging, which is exemplified in her <em>Through the Flower</em> series.  These acrylic sprayed canvases are stunning, boldly fashioned works that pull the viewer inside a whirling vortex of imagery.  A term was developed by the group apropos of these biomorphic shapes: “central core.”</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>The Creation</em> (1984) and <em>Earth Birth</em> (1983) are eye-catching examples of the use of fabric in quilting and weaving to achieve her ends. These were collaborations with skilled artisans to achieve the magnitude of her ends.  </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/6judychicago.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In her <em>Power Play</em> series, the issue of masculinity as a destructive social construct is explored. Chicago had traveled to Italy in 1982 and drawing from Renaissance nude painting, she formed a technique of acrylic underpainting topped by oil on Belgian linen, which puts her fury at male subjugation of women in full play.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">If anger plays its part in some of Chicago’s most blatant imagery, the <em>Extinction</em> suite puts her compassion for the death of entire species front and center. Her eco-feminist view demands a close look at the brutality against nonhuman life. This is no better exemplified than in <em>The End</em>, a sculpture centerpiece that seems to embody mammals and sea creatures sinking into the abyss.</span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/7judychicago_0.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Such an output of subjective, yet socially conscious works seems to indicate that Judy Chicago wanted to take on the world through her art. And that’s pretty accurate. We mustn’t forget that this is the same woman who debuted <em>The Dinner Party</em> at the San Francisco Museum of Art in 1979. This massive triangular table of 39 place settings, each representing a historical female figure from Sappho to Sojourner Truth, created an explosive debate across the entire modern art landscape. For some critics, these vulvic painted plates were labeled as “porn” and “kitsch,” outraging the sensibilities of its time. (After decades of petitioning by legions of feminists, plus the efforts of Elizabeth Sackler and the Brooklyn Museum trustees, the work found a permanent home at that institution.) </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">You remember I said this was an exhibition of moving parts. No better example is this cosmos of artworks, documents, and objects from the multitude of women artists down the ages who have inspired Chicago. She has said, “If you bring Judy Chicago into the museum, you bring women’s history into the museum.”  And the New Museum has done just that. Its fourth-floor exhibition space is given over to “The City of Ladies.”  Many of the names need little explanation; others will be encountered for the first time. A handy pamphlet with a rollcall of bios is a take-home bonus. </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/8judychicago.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In addition to an installation featuring Chicago’s own embroideries, sculptures, drawings, and carpet designs, archival materials from more than 80 women artists, writers, and cultural figures abound. From Artemisia Gentileschi to Hilma af Klimt, Emily Dickenson, Kathe Kollwitz, Remedio Varos, Djuna Barnes, Martha Graham, Simone de Beauvoir, Frida Kahlo, Augusta Savage, and Georgia O’Keeffe, the list goes on and on -- an homage to the lives of those who left an indelible mark on a Midwest girl from Chicago, a woman<em> </em>who has become an indisputable force for artists everywhere.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The takeaway for this reviewer is simply that this show is greater in its display of female artistic genius than the sum of its parts. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Judy Chicago: Herstory is on view at the New Museum through March 3, 2024.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Sandra Bertrand is</em> Highbrow Magazine’s <em>chief art critic.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Photo credits: Sandra Bertrand; Donald Woodman (<a href="https://en.m.wikipedia.org/wiki/File:Judy_Chicago_with_flight_hood.jpg" style="color:blue; text-decoration:underline">Wikipedia</a>, Creative Commons).</em></strong></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/judy-chicago" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">judy chicago</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-museum-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the new museum</a></div><div class="field-item even" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item odd" rel="dc:subject"><a href="/american-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">american artists</a></div><div class="field-item even" rel="dc:subject"><a href="/feminist-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">feminist art</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new exhibits</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Sandra Bertrand</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Thu, 07 Dec 2023 16:17:04 +0000 tara 12840 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/24212-judy-chicago-s-story-and-more-80-others-new-museum#comments Artist Graham Moore Draws Inspiration From Mid-Century Modern, Vintage Styles https://www.highbrowmagazine.com/24192-artist-graham-moore-draws-inspiration-mid-century-modern-vintage-styles <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Wed, 11/22/2023 - 14:41</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1moore.jpg?itok=Dwhj9ITd"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1moore.jpg?itok=Dwhj9ITd" width="480" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><a href="https://gallery30south.com/graham-moore-2023/" style="color:#0563c1; text-decoration:underline">Gallery 30 South</a> is currently presenting the works of artist Graham Moore.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The clean, simple lines of mid-century modern design and the cool sounds of West Coast jazz and Bossa Nova Blue Note minimalist record cover artworks of the 1950s – 60s. The Abstract Classicists with their hard-edge painting style using bold lines, organic shapes, and textures. Vintage fashion and photography and classic cars. Pop Art, Constructivism and Suprematism. These are just a few ideas and movements that inspire Graham Moore’s collages. </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/2moore.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Max Ernst described collage as “<em>the noble conquest of the irrational, the coupling of two realities, irreconcilable in appearance, upon a plane which apparently does not suit them,</em>” but looking at Moore‘s collages, one can’t help but see all elements in such an intuitive way that it’s hard to imagine them not being juxtaposed. Indeed, his record cover collages are a thrift-store upcycle that elevates discarded nostalgia into fine art.<br /> <br /> Moore studied at the Wimbledon School of Art and then the East Ham College of Technology (the school that launched the careers of Gerald Scarfe, Ralph Steadman, and Alexander McQueen) eventually landing an instructor gig at Pasadena’s Art Center College of Design. </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/3moore.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">His work can be found in several museum and private collections, and he continues to teach and work in the community outreach programs with non-professional artists and students from at-risk environments.   </span></span></p> <p> </p> <p><img src="https://www.highbrowmagazine.com/sites/default/files/5moore.jpg" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>For more information about Graham Moore and the artworks featured here, please contact <a href="https://gallery30south.com/graham-moore-2023/" style="color:#0563c1; text-decoration:underline">Gallery 30 South.</a></em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/graham-moore" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Graham Moore</a></div><div class="field-item odd" rel="dc:subject"><a href="/artist-graham-moore" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">artist graham moore</a></div><div class="field-item even" rel="dc:subject"><a href="/mid-century-modern" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">mid-century modern</a></div><div class="field-item odd" rel="dc:subject"><a href="/vintage-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">vintage art</a></div><div class="field-item even" rel="dc:subject"><a href="/collages" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">collages</a></div><div class="field-item odd" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item even" rel="dc:subject"><a href="/gallery-30-south" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Gallery 30 South</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">The Editors</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Wed, 22 Nov 2023 19:41:01 +0000 tara 12803 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/24192-artist-graham-moore-draws-inspiration-mid-century-modern-vintage-styles#comments John Hultberg’s Cinematic ‘Mindscapes’ Are Focus of New Exhibit https://www.highbrowmagazine.com/24139-john-hultberg-s-cinematic-mindscapes-are-focus-new-exhibit <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Wed, 10/18/2023 - 09:00</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1hultberg.jpg?itok=oasjwjz7"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1hultberg.jpg?itok=oasjwjz7" width="480" height="395" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><a href="https://anitashapolskygallery.com/newsite/current-exhibition/" style="color:#0563c1; text-decoration:underline">The Anita Shapolsky Gallery</a> &amp; AS Art Foundation are pleased to present <strong>John Hultberg -</strong> <strong>Painter of the In-Between</strong><em> </em><em>– </em>a show that continues a nearly four-decade relationship with the art of Hultberg. Also on display are works by Martha Jackson, Lynn Drexler, Michael Loew, William Manning, and Zero Mostel, all artists who crossed paths on Monhegan Island.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2hultberg.jpg" style="height:486px; width:670px" typeof="foaf:Image" /><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The art dealer <strong>Martha Jackson</strong>, herself a painter, would champion the causes of many artists she admired, including <strong>Hultberg</strong>. In 1961, they traveled together to Monhegan Island. Hultberg was immediately taken by the place, which was reminiscent of where he grew up in the San Francisco Bay Area. She assisted him in acquiring a home where he would spend much of the next 40 years, greatly influencing his oeuvre. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3hultberg.jpg" style="height:525px; width:670px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Hultberg’s works are featured in 140 international institutions, including the Albright-Knox Art Gallery; Carnegie Institute Museum of Art; the Metropolitan Museum of Art; Museum of Modern Art, New York; Museo Tamayo, Mexico; Smithsonian Institution; the Solomon R. Guggenheim Museum; Stedelijk Van Abbe Museum; Whitney Museum of American Art; and many others.<br />  <br /> Hultberg’s work is abstracted, yet his representational vistas and interiors suggest an almost cinematic or ‘graphic novel’ look. These ‘mindscapes’ hint at surrealist symbolist and metaphysical painting. As Hultberg explains, “I am a painter of the in-between.”</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4hultberg.jpg" style="height:496px; width:670px" typeof="foaf:Image" /><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Lynne Drexler would marry Hultberg and together they would spend summers on the island. Drexler was inspired by the island's beauty, its community of artists, as well as her appreciation for colorists, notably Cézanne and Matisse. Her work has recently seen a surge in popularity.<br />  <br /> As a loose confederacy, Jackson, Drexler, Loew, Manning, and Mostel shared a sense of Hultberg’s ‘in-betweenness’. They were attracted to romantic notions of the rational world; however, they would filter their experience through an expressive existential prism. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5hultberg.jpg" style="height:506px; width:670px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>For more information about John Hultberg and the artworks featured here, visit the </em></strong><a href="https://anitashapolskygallery.com/newsite/current-exhibition/" style="color:#0563c1; text-decoration:underline"><strong><em>Anita Shapolsky Gallery</em></strong></a><strong><em>. </em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/john-hultberg" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">john hultberg</a></div><div class="field-item odd" rel="dc:subject"><a href="/anita-shapolsky-gallery" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">anita shapolsky gallery</a></div><div class="field-item even" rel="dc:subject"><a href="/american-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">american artists</a></div><div class="field-item odd" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item even" rel="dc:subject"><a href="/abstract-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">abstract art</a></div><div class="field-item odd" rel="dc:subject"><a href="/abstract-expressionism" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">abstract expressionism</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">The Editors</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All images courtesy of the Anita Shapolsky Gallery</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Wed, 18 Oct 2023 13:00:18 +0000 tara 12683 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/24139-john-hultberg-s-cinematic-mindscapes-are-focus-new-exhibit#comments Inheritance: Searching Past, Present, and Future Identities at the Whitney https://www.highbrowmagazine.com/24159-inheritance-searching-past-present-and-future-identities-whitney <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Wed, 08/30/2023 - 11:29</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/2inheritanceexhibit.jpg?itok=EdXLotfB"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/2inheritanceexhibit.jpg?itok=EdXLotfB" width="360" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The poet Rio Cortez speaks of being “framed by our future knowing”— between our foremothers and the descendants we will never know. We have all experienced the sense of limbo, being caught between the past and the future, looking for a way to define our present selves.  Artists in particular are caught up in this journey through time and the need to interpret the path they take.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><a href="https://whitney.org/exhibitions/inheritance?section=1" style="color:blue; text-decoration:underline">The Whitney Museum of American Art</a> has done a commendable job of gathering an impressive array of artists who have taken on the challenge. Through painting, sculpture, photography, film, video, mixed media, and installation, these participants have left clues for us to follow them on their journeys. What better way to start than with the act of birth itself?  </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3inheritanceexhibit.jpg" style="height:488px; width:650px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Artist Mary Kelly filmed herself at full-term pregnancy in<em> Antepartum</em> (1973). A prologue to a later exploration of motherhood she produced, the viewer watches a giant black-and-white Super 8 silent demonstration as the fetus moves under her skin. This imagery never ceases to create a sense of wonderment in the viewer. Denda McCannon’s <em>Pregnant Woman</em> (1977), a boldly detailed linoleum-cut collagraph, is just as eye-catching. The subject’s body profile and straight-on glance almost dare us not to look away.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The death of a parent is not an easy event to convey, and Maggie Lee’s video <em>Mommy</em> (2012-15) makes a laudable and touching attempt to show how a teenage daughter deals with the aftermath. Through a collage of sorting through rooms and miscellaneous objects—what to keep and what to discard—she provides a visceral reminder of what is lost and remembered.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4inheritanceexhibit_1.jpg" style="height:527px; width:651px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The struggle of oppression, survival, and renewal is not lost on a number of these artists. <em>The Road </em>by Kevin Bensly<em> </em>is a massive slab sculpture that evokes the Great Migration<em>, </em>when millions of African Americans fled the rural South for urban opportunities in the North. Simple colorful iconography speaks volumes, with guinea fowl feathers, shoelaces, and other garments, including a ragged T-shirt that advises “soak in the sun” amidst blazing sunlight and a winding road filling one side. On the opposite side, the blackened cotton forma of a car and tire wheels present an industrial future.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Pat Phillips’s <em>The Farm</em> (2018) is an edgier work, with a row of three brown hands grasping hoes with a trio of blue-and-white sneakers framing the base of the painting -- with one pair placed on the museum floor below the canvas. A clever addition perhaps but the imagery in the painting can stand on its own. The title refers to both the Louisiana State Penitentiary (also known as Angola, after a former slave plantation) and the continuum of enslaved people.  </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5inheritanceexhibit.jpg" style="height:650px; width:488px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The most beautifully rendered example of an answer to power can be found in <em>Strike</em> (2018) by Hank Willis Thomas. It holds a central position in one of the exhibition rooms—a stainless-steel sculpture with a mirror finish inspired by a lithograph in the museum collection. Although it references a unionized struggle of a black worker resisting a police officer’s nightstick, in its formidable elegance it speaks eloquently across the generations.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Ancestral homage in such an exhibition is its own raison d’etre, and the best example on display is John Outterbridge’s <em>The Elder, Ethnic Heritage Series</em> (1979). This Los Angeles-based artist draws on folk art that employs the iconography of totems, religious relics, and other devotional objects to convey the visual culture of the dispossessed.  His chosen figure lifts arms toward the sky—no words needed to convey its emotional staying power. Another homage to African ancestry can be found in Thaddeus Mosley’s <em>Repetitive Reference</em> (2020) depicting antelope headdresses made by the Bamana peoples of Mali. Though cast in bronze, it retains the texture of wood from this masterful wood carver.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6inheritanceexhibit.jpg" style="height:650px; width:488px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Another distinctive homage to an indigenous people is <em>Red Exit</em> (2020) by Andrea Carlson. Rooted in the native mythology of the Ojibwe, it’s a gorgeous narrative of that culture. Her story’s imagery spans a linear grid with the most striking image -- that of a loon -- or Earth Diver in its V-shaped center.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Photography plays a decisive role in this exhibition, and there are many fine examples in solo as well as narrative works. Deana Lawson has made her mark in recent years, particularly in contemporary renditions of family and friends. In <em>The Garden, Gemena, DR Congo </em>(2015), she has reimagined The Garden of Eden. Little narrative if any is required to understand the tender moment caught between her nude subjects.  Also of note are the double exposure portraits, such as <em>I Am U</em> (1995) by Sophie Rivera, which manage to give a layered picture of two different children. This was part of a series by the artist who worked to change the negative postwar depictions she witnessed of her fellow Nuyoricans.  </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/7inheritanceexhibit.jpg" style="height:488px; width:650px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The title of the exhibition, <em>Inheritance</em>, was based on Ephraim Asili’s first feature-length film, a re-enactment of the Black Marxist collective, MOVE. This black liberation organization, founded in 1972, was bombed by the Philadelphia police in 1985 due to numerous complaints in the community. The film is presented in its entirety, and though most museumgoers will only experience it in brief segments, it serves as an example of how its filmmaker used his subject matter to explore what kind of organization can exist to uphold inherited freedoms within the society at large. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">This is an exhibition that raises a number of questions about how we as individuals respond to our world, given our highly individualized backgrounds, combined with our own hopes and dreams, within a constantly changing, uncertain future.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>The </em></strong><a href="https://whitney.org/exhibitions/inheritance?section=1" style="color:blue; text-decoration:underline"><strong><em>exhibit</em></strong></a><strong><em> is on view through February 2024. </em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Sandra Bertrand is</em> Highbrow Magazine’s <em>chief art critic.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Image Sources:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--All images courtesy of Sandra Bertrand.</em></span></span></p> <p> </p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/inheritance-exhibit" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">inheritance exhibit</a></div><div class="field-item odd" rel="dc:subject"><a href="/whitney-museum-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the whitney museum</a></div><div class="field-item even" rel="dc:subject"><a href="/mary-kelly" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">mary kelly</a></div><div class="field-item odd" rel="dc:subject"><a href="/maggie-lee" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">maggie lee</a></div><div class="field-item even" rel="dc:subject"><a href="/pat-phillips" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pat phillips</a></div><div class="field-item odd" rel="dc:subject"><a href="/ephraim-asili" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">ephraim asili</a></div><div class="field-item even" rel="dc:subject"><a href="/thaddeus-mosley" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">thaddeus mosley</a></div><div class="field-item odd" rel="dc:subject"><a href="/art-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">art exhibits</a></div><div class="field-item even" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Sandra Bertrand</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Wed, 30 Aug 2023 15:29:15 +0000 tara 12089 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/24159-inheritance-searching-past-present-and-future-identities-whitney#comments Manou Marzban – An Artist for Our Times https://www.highbrowmagazine.com/21972-manou-marzban-artist-our-times <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Sat, 11/19/2022 - 16:50</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1manou.jpg?itok=fC8Lz1zb"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1manou.jpg?itok=fC8Lz1zb" width="480" height="278" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Every once in a while, someone arrives on the scene whose art and message become even larger than the individual himself. The Swiss-born Iranian-American artist Manou Marzban is just such a man.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Born in Switzerland in 1962 to a diplomat father, he was exposed at an early age to a diversity of people and cultures, giving him an invaluable global perspective. His expositions have drawn art enthusiasts in Berlin, Cannes, Nice, Paris, Monte Carlo, Baltimore, Geneva, Stockholm and London.  He has said he just wants to “entertain.”</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But this lighthearted genius of pop culture wants to make people think as well. Every icon from our combined histories is fair game for deconstruction, from colorfully painted World War II Nazi helmets—“just a piece of  metal”—to cartoon renderings of historical figures from the Qajar dynasty. </span></span></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2manou.jpg" style="height:320px; width:656px" typeof="foaf:Image" /></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Marzban’s vivid imagination holds supreme sway over every endeavor. He has said that if he analyzes an undertaking, he would never finish it.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Marzban believes that the ”nationalists” are a dying breed. In a hundred years, travel and communications worldwide will bring the human race closer together. The next generation will have far more understanding and compassion for one another. His mantra is “to live and let live, treat the world better, and challenge evil.”</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">With chaos, complexities, and challenges facing an uncertain world, Manou Marzban sounds like the King Arthur of our times.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Below is an interview Marzban recently conducted with <em>Highbrow Magazine</em>, discussing his perspective as an artist and his inspirations and philosophies. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3manouart.jpg" style="height:339px; width:603px" typeof="foaf:Image" /></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong>: You have said that in a hundred years, diversity is inevitable. Given the increasing rise of nationalism around the world, and growing racism, do you see political revolutions and upheavals more imminent in the future?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> <strong>Manou: </strong>Diversity is certainly inevitable. Why? One hundred years ago, very few people travelled, let alone got on an airplane. Today it is normal. In another hundred years, this exponential increase in travel, exposure, and communications will only grow, and slowly allow people to shed their xenophobic tendencies. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">When people get to mix and understand each other on a human level...they tend to stop agitations. What we see today are the last kicks of a dying breed. The “nationalist.” And this breed exists in every country, every continent. Trump, Brexit, Putin are all results of this symptom. So yes, there will be upheavals. My message is to keep repeating “never again.” Conflicts can quickly take global dimensions. We don’t want that. History can repeat itself.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> Of course, the concept of diversity can polarize people, especially those who feel marginalized . The media has become an agitator, waving the flames of extreme thinking, both on the right and the left. We have Nazis walking around again on the right, openly, and “woke” thinking has now gone beyond rationality on the left. Ultimately, our hope is in the next generations, who will have grown up in a global and digital world -- and have far more understanding and compassion for one another than my generation did.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4manou.jpg" style="height:400px; width:601px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong>: Your art provokes and delights. As an artist, do you think that deconstructing iconic objects, like the SS helmets in your 'Diversity Instead of Fascism' exhibition, can inspire your audience to take to the streets to make real change in their political climate? Can art do that?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> <strong>Manou: </strong>The first thing to do is to de-mask certain iconic objects, especially those that evoked fear, and see them for what they truly are. Once you understand that, it can help inspire new thinking. The German war helmets evoked such fear. Just the sight of them brought terror to millions. Now, that is insanely powerful symbolism. My thinking was simple: I will take this fearful symbol and cover it with messages that are in direct conflict to what it symbolizes. And that will dilute the message. What you are left with is just a helmet. Just a piece of metal. And perhaps that can inspire an audience to see the helmets of oppressive riot police and uniformed militias in the same light. Just a piece of metal. Nothing to fear.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5manou.jpg" style="height:602px; width:446px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong>: Will the current political climate continue to be your primary focus, or do you see your art as more transformational, evolving and changing in tune with your own artistic ambitions?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> <strong>Manou: </strong>My art was never meant to be political. In fact, it’s been called “whimsical,” “fun,” but “thought-provoking.” I try to create a narrative in my pop art. I try to mix historical icons, political reflections, and popular culture all in one go. My desire is to entertain you. To make you think and ask questions. My Persian Qajar Streak series is playful. They are caricatures in bright colors, not the usual dour visions we see of classic Persian kings. My art features many mixtures of styles. Always transforming. From installations to videos. I will always try to evolve. As an artist, you can get recognition for just one particular form of creation...that boxes you in. But hey, we need to pay the bills too! So you do what you know sells. The key is to keep experimenting. Keep pushing your creative energy.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6manou.jpg" style="height:439px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong>: You are a Swiss-born, Iranian-American artist and the son of a diplomat. How has your international outlook shaped your art?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> <strong>Manou: </strong>My very diverse personal background laid the foundation for my art. As a child, in various destinations, I tuned into American Forces TV. That meant early exposure to classic films of the 40s, 50s, as well as TV shows and cartoons from the 60s and 70s. I grew up with comic books and graphic novels like <em>Tintin</em> and <em>Asterix</em>.  I attended a British boarding school in the 70s, where hours of boredom meant having to ignite an active imagination. All that travel and international exposure meant no real roots but an amazing [exposure] at an early age to diverse people and cultures. My art tries to touch on these childhood experiences via cultural and historical references. And I guess that gives my art an international appeal. I certainly felt that, having done expos in many capitals across Europe.</span></span></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/7manou.jpg" style="height:500px; width:470px" typeof="foaf:Image" /></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong>: How did the Iranian revolution of 1979 shape your perspective as an artist?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> <strong>Manou</strong>: Prior to the revolution, I studied art like everyone else in school. I got my GSCEs and ‘A’ level art degrees earlier than most, and took my creativity for granted. Indeed, in boarding school, my doodles of teachers and students kept my classmates amused for hours. I had returned to Iran in 1977 – and loved it. But soon, the country was gripped in turmoil. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">When I was in Iran, an art teacher at the international school, Mr Minton, encouraged me to study art, because I was a “natural”: I could simply draw, like some can create music, effortlessly. I only fully realized that my creative talent is perhaps more than just making my friends giggle after I arrived in Washington DC in January 1979. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In Washington, I declared to my father my intention to study art. That didn’t go down well. In fact, it didn’t go anywhere. Instead, I studied Communication and eventually, as the oldest son of a VIP father, I studied Business and entered the workforce....art was shelved. I believed that with the Iran-Iraq war, the desperate Persian diaspora trying to fit in anywhere they can outside of Iran, and the sheer uncertainty that naturally follows any revolution – how could I study art? I became a yuppie in the tech world. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">My father passed away in 2004. I started really exploring my creativity in 2009. By 2010, I had my first event, and by 2017, I had made an impact – especially with the Persian audience. My expos are usually entertaining events, not your classic art shows. I like to make people feel like they have attended a party. Maybe that’s a throwback to seeing my diplomat parents entertain almost nightly when I was a kid.</span></span></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/8manou.jpg" style="height:546px; width:435px" typeof="foaf:Image" /></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong>: Who are some of your favorite artists?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> <strong>Manou:</strong> This is a question I am often asked in interviews, which always makes me smile because I have no profound or impressive answers. Like many, I like Dali, Picasso, Warhol, Miro...who doesn’t?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But then, I am inspired by Sergio Argones, a <em>MAD Magazine</em> cartoonist. I never studied art or art techniques; I am 100 percent self-taught. Trial and error. I like so many different kinds of art, that it is impossible for me to say what or who is my favorite. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">I am influenced by film, TV, actors....I also have a degree in Film History from American University in Washington DC. I think film has influenced me more than anything. But I don’t have a favorite film. Too many great ones. An image is an image, a film is many images. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Having said all this, if there is one school of art I will subscribe to, it is the “enigmatism” approach. That is: plan nothing, let the creativity pour out, and discover the beauty of the unexpected. It’s all about storytelling, and emotional transfer. That, in essence, is the core of my art. My ‘Streaks’ series is exactly that. So, if there is one person I can tell you I find enthralling, it is the French artist Gérard Salomon.</span></span></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/9manou.jpg" style="height:601px; width:450px" typeof="foaf:Image" /><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong>: You have been compared to Banksy. What are your thoughts on this comparison?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"> <strong>Manou:</strong> That is stretching it! I must say I was a bit surprised when that happened. First, I don’t paint on walls; secondly, I am not shrouded in mystery. Google knows where I am. But nonetheless, I am of course honored. I guess the reason was more [because] of the messages we both try to convey -- that is, to live and let live, treat people equally, treat the world better, and always challenge evil. We are at a historical crossroads now: We can put our lot with the people on this planet who want to heal and mean well, or fall on the side of skullduggery. I have hope for sure -- hope in our children and their children.</span></span></p> <p> </p> <p><em><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For more information about the artist, visit: <a href="https://www.manouart.com/" style="color:blue; text-decoration:underline">Manou Art</a>.</strong></span></span></em></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Sandra Bertrand is</em> Highbrow Magazine’s <em>chief art critic.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>--All images are courtesy of the artist</em>.</strong></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/manou-marzban" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">manou marzban</a></div><div class="field-item odd" rel="dc:subject"><a href="/manou-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">manou art</a></div><div class="field-item even" rel="dc:subject"><a href="/pop-culture" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pop culture</a></div><div class="field-item odd" rel="dc:subject"><a href="/paintings" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">paintings</a></div><div class="field-item even" rel="dc:subject"><a href="/contemporary-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">contemporary artists</a></div><div class="field-item odd" rel="dc:subject"><a href="/pop-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pop art</a></div><div class="field-item even" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item odd" rel="dc:subject"><a href="/artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">artists</a></div><div class="field-item even" rel="dc:subject"><a href="/iranian-american-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">iranian american artists</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Sandra Bertrand</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All images courtesy of Manou Marzban</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Sat, 19 Nov 2022 21:50:23 +0000 tara 11471 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/21972-manou-marzban-artist-our-times#comments Artists Pay Homage to the Many Charms of Baltimore https://www.highbrowmagazine.com/21009-artists-pay-homage-many-charms-baltimore <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Fri, 08/12/2022 - 17:39</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1charmcity.jpg?itok=r4V_OZPE"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1charmcity.jpg?itok=r4V_OZPE" width="290" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>Charm City</em>, currently featured at <a href="https://www.asyageisberggallery.com/" style="color:#0563c1; text-decoration:underline">Asya Geisberg Gallery</a>, is a collection of materially-driven abstract works by artists who live in or have a deep connection to Baltimore, Maryland. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Through material exploration, these artists push against traditions of art-making in abstraction. By utilizing found objects, fibers, undulating lines, maximalism, and deeply personalized processes, the artists are redefining abstraction while charming the eye in curious and playful ways. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Baltimore is a gritty space with complicated narratives but is also a hotbed for creativity, with an underground arts ecosystem unrivaled by most American cities of its size. This exhibition celebrates the abstract risk-takers who have been a constant in the Baltimore art scene. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Together, these artists are shifting preconceived notions of Baltimore to one that centers community, creativity, and celebration, and by working through material-driven abstraction, the artists are asking viewers to truly feel Baltimore as it is today, a wonderfully diverse and welcoming creative haven.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>For more information, visit <a href="https://www.asyageisberggallery.com/" style="color:#0563c1; text-decoration:underline">Asya Geisberg Gallery</a>.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>The exhibition is on view through August 26, 2022.</em></strong></span></span></p> <p> </p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2charmcity.jpg" style="height:652px; width:502px" typeof="foaf:Image" /></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3charmcity.jpg" style="height:492px; width:650px" typeof="foaf:Image" /></p> <p> </p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5charmcity.jpg" style="height:650px; width:568px" typeof="foaf:Image" /></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6charmcity.jpg" style="height:657px; width:570px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Image Sources:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--All images courtesy of the artist and Asya Geisberg Gallery.</em></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/asya-geisberg-gallery" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Asya Geisberg Gallery</a></div><div class="field-item odd" rel="dc:subject"><a href="/charm-city" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Charm City</a></div><div class="field-item even" rel="dc:subject"><a href="/baltimore-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Baltimore artists</a></div><div class="field-item odd" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item even" rel="dc:subject"><a href="/baltimore-art-scene" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Baltimore art scene</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">The Editors</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All images courtesy of the artist and the Asya Geisberg Gallery</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Fri, 12 Aug 2022 21:39:22 +0000 tara 11251 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/21009-artists-pay-homage-many-charms-baltimore#comments Exploring the Significance of Ecological Art https://www.highbrowmagazine.com/20090-exploring-significance-ecological-art <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Mon, 07/25/2022 - 13:53</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1rahimi.jpg?itok=d-EpS_qS"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1rahimi.jpg?itok=d-EpS_qS" width="480" height="320" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Early in the fall of 1971, I stuffed my two big dogs into my VW Beetle and drove 80 miles an hour up the California coast under a vivid blue sky, past vast blurs of brilliant color, from San Diego to CalArts in Santa Clarita. Our trip had a dreamlike quality. Shiva, my neurotic black Belgian shepherd, and Rosa, my white German shepherd, were excited about the heady scents they inhaled through the window. We were passing fields of commercial flower farms, which have long since vanished under housing developments. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">I was becoming interested in the ecological idea that the heart of a system depends on its periphery. The biological edges we were passing seemed to parallel contemporaneous discussions about social and psychological boundaries. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Ecologically, vulnerability at the edges is important for several reasons. First, the edges of any habitat are crucial to its integrity. Fragmentation can be dangerous because of its impact on <em>ecotones</em>, which are the subtle transitions from one nuance of habitat to another. Ecotones can be as rich in subtlety as human relationships. Ecotone microhabitats act as filters and bulwarks to support larger systems. An intact ecotone system is where animals migrate between food sources or for water, shelter, and mating. Edges are also an insurance policy to provide resilience to disruptions. Resilience allows species and peoples to sustain communities in equilibrium. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Finally, ecologists speak of biological redundancy as natural engineering to protect systems. Any edge is, in effect, a pool of many small variations on biological functions in case any species in the core habitat is threatened or weakened. These subtle complexities reinforce ecotones. That wider impact from the periphery to the heart is the rub. In our age of climate change, unless we intervene in fragmentation, nothing will be left to mitigate the disaster of maximum warming. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2rahimi.jpg" style="height:650px; width:532px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">That day in 1971, as my dogs and I approached and then left Los Angeles behind, we traversed the futuristic concrete highway complexes that the historian and urban critic Lewis Mumford had identified as the greatest public artworks of the 20<sup>th</sup> century. We encountered scant traffic. My destination was a meeting with the artist Allan Kaprow a week before fall classes began at CalArts. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">I had with me a slim black portfolio of typed-up performance scores to show Allan. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">When the dogs and I pulled into the CalArts parking lot, the dogs tumbled out and set off racing over the then-empty hills surrounding the campus until I called them back to my car. My goal as I walked into the large, newly built, shiny, industrial-looking building was to ask for a job. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">I never got that far. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">I found my way to the office of the School of Art, where Allan was the vice chair. We sat across from each other alongside a desk and exchanged greetings. I handed him my portfolio. He quickly scanned through it. Before I had a chance to ask for a job, Allan turned his head and yelled across the room to the painter Paul Brach, then chair of the School of Art, who was standing not far away. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3rahimi.jpg" style="height:650px; width:650px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">“I want her as my student!” </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Paul smiled slightly, nodded laconically, and just like that, I began to work with Allan. I thought that was better than a teaching job. Allan became my mentor. He got me a job and a scholarship and made me his assistant the following year, when I started graduate school. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Change was in the air. The first green parties would be established in 1972 in Tasmania, Australia, and New Zealand. Despite my challenges in San Diego, I was sure that new possibilities would emerge from formal ideas based in artmaking about social dynamics, such as I had discussed with Herbert Marcuse, when I had audited classes at University of California San Diego. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Ecoart, or ecological art, as a distinct genre has evolved as a hybrid form from people like me who couldn’t accept silos. Where land artists such as Robert Smithson were using sculptural techniques to stamp their own philosophical comments on the Earth, as my father had, ecoartists are driven by the sense that the Earth desperately requires healing much more than stamping. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4rahimi.jpg" style="height:455px; width:650px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">It was at this time that I produced <em>Physical Education, </em>a performance art piece that involved ritualized direction that could be enacted by performers with or without formal training. I thought <em>Physical Education</em> was both explicit and elegant exploration of how we manage water that included a nod to ecofeminism. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">These were the exact instructions for each performer in <em>Physical Education</em>: </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>1. </strong>Take a plastic baggie and a plastic spoon. Go to a water fountain or sink in an institution. Fill the baggie half full of freshwater and seal it. Drive to the ocean. Stop four times en route. At each stop, take a teaspoon of earth and put it in the baggie with the institutional water and leave behind a teaspoon of the freshwater at each site. Reseal the baggie each time. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>2. </strong>At the beach, get out of the car and find some very dry sand. Pour out the earth and water mixture into the dry sand. Walk to the water, refill the baggie half full with seawater, and seal it. Return to the car. Drive back to the original institution, stopping four times en route to leave behind a teaspoon of seawater and gather a teaspoon of earth to replace it. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5rahimi.jpg" style="height:424px; width:650px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>3. </strong>On returning, take the baggie to a toilet. The remaining seawater and arable soil mixture are then poured down the toilet. Flush the toilet. If the spoon is plastic, discard it.<br /> <em>Variation: </em>Use a special spoon to transfer the mixtures of earth and water. Keep the spoon. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Today this work still interests me, both as a study in paying attention to ecotones and as a subtle political statement. It ritualized the incremental transactions between an institution, a human, and the ecotones of transition from land to sea and back to built infrastructure. Water and the ocean were common ecofeminist iconographies. The toilet was likened to a vagina. Flushing the water down the toilet was how I saw us squandering the natural world. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><em><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Aviva Rahmani is the author of </strong><a href="https://www.amazon.com/Divining-Chaos-Autobiography-Aviva-Rahmani/dp/161332166X/ref=tmm_pap_swatch_0?_encoding=UTF8&amp;qid=&amp;sr=" style="font-family:&quot;Times New Roman&quot;,serif; color:blue; text-decoration:underline"><strong>Divining Chaos: The Autobiography of an Idea</strong></a><strong>. She is a pioneering ecological artist who has worked at the cutting-edge of the avant-garde since she committed to her career in art at the age of 19. Rahmani is an affiliate of the Institute of Arctic and Alpine Research at the University of Colorado at Boulder. She earned her Ph.D. from the University of Plymouth, U.K., and received her BFA and MFA at the California Institute of the Arts. </strong></span></span></em></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>This is an excerpt from <em>Divining Chaos</em>. It’s published here with permission.</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong></span></span></p> <p> </p> <p><strong>Images:</strong></p> <div> <div dir="ltr"> <div><em>Physical Education</em> performance detail 1973</div> <div> <p><em>Portrait of the Artist Mother</em> Egg tempera on wood 44”x36” 1979</p> <p><em>Portrait of the Artist's Father</em> oil on linen 36”x36” 1987</p> <p><em>Ghost Nets</em> site 1930 courtesy of The Vinalhaven Historical Society</p> <p> Ghost Nets excavation work, photograph by Ben Magro 1997</p> <p>Elements for copyright of <em>The Blued Trees Symphony</em> 2015</p> </div> </div> </div> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/aviva-rahmani" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">aviva rahmani</a></div><div class="field-item odd" rel="dc:subject"><a href="/divining-chaos" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">divining chaos</a></div><div class="field-item even" rel="dc:subject"><a href="/new-books" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new books</a></div><div class="field-item odd" rel="dc:subject"><a href="/art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">art</a></div><div class="field-item even" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item odd" rel="dc:subject"><a href="/eco-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">eco art</a></div><div class="field-item even" rel="dc:subject"><a href="/ecological-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">ecological art</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Aviva Rahmani</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All images courtesy of the publisher</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Mon, 25 Jul 2022 17:53:36 +0000 tara 11223 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/20090-exploring-significance-ecological-art#comments On Your Radar: Highlights From the Art World https://www.highbrowmagazine.com/20003-your-radar-highlights-art-world <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Tue, 06/07/2022 - 13:23</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1ringgold.jpg?itok=CPxK9OKN"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1ringgold.jpg?itok=CPxK9OKN" width="360" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Faith Ringgold: American People</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Recognition for some is like being in the center of a floodlight, instantaneous and often too bright to withstand for long. For others, fame can feel like a lucky penny, found in the sidewalk crack after a long rest.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">For artist Faith Ringgold, there was no rest. If she was under the radar for many, she kept creating, drawing from personal autobiography and collective histories to both document her life and to illustrate the struggles for social justice and equity.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>“Faith Ringgold: American People”</strong> at NYC’s New Museum is the most comprehensive exhibition to date of this groundbreaking artist’s vision. And for this visitor, it was an eye-opening revelation.  From bold, politically charged paintings in a graphic style she called “super realism” to her famed and inflammatory story quilts, she has remained an unstoppable force of nature.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In 1963, when Ringgold began her American People series, her idea was to make art about what was happening to Black people at the time. <em>Between Friends</em>, the first in the series, represents a Black and white woman, inspired by liberal-minded women she met on Martha’s Vineyard. The narrow space suggests a close but tense intimacy. Delicacy has no place in this stark dramatic portraiture.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Also on view is her <em>U.S. Postage Stamp Commemorating the Advent of Black Power</em>. In this repetitious grid, she has concealed “Black Power” and “White Power” amidst the tiled Black faces.  When this, along with other murals was shown at the Spectrum Gallery in 1967, it was her first exhibition outside of Harlem. Ringgold was the first Black artist on the roster.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But Ringgold was not content to put her spin on America alone. Traveling to Paris as a single mother, she placed an uncompromising eye on the male painters who had risen to the heights of the public pantheon. In this first full presentation of her French collection in decades, viewers can delight in picking out Picasso himself in her revisionist take on his <em>Les Frommes Demoiselles d’Avignon</em> masterwork.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The first in her American Collection series of story quilts from 1997, <em>We Came to America #1</em>, the Statue of Liberty stands with a naked child in her arms.  Surrounded by flailing Black slaves from a burning ship, it puts front and center her version in response to a more polite and purist take on our turbulent history.</span></span></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2ringgold.jpg" style="height:600px; width:450px" typeof="foaf:Image" /></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Jean-Michel Basquiat: King Pleasure</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">To say that Basquiat’s rise to fame was meteoric is an understatement.  This Black Pop culture icon, dead at 27 from a heroin overdose, was catapulted to fame in the 1980s by his version of rap, punk street art, coupled with a nascent talent to perfectly interpret his times. Befriended by media star Andy Warhol, he was his own man in that glittery firmament. According to his younger sister Lisane, he was “huge energy entering this world.”</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The current exhibition, curated by sisters Lisane Basquiat and Jeanine Heriveaux, is an over-the-top, rich pastiche of the artist’s brief life. Housed in the Starret-Lehigh building in Chelsea, it features over 200 artworks and artifacts from the artist’s estate – 177 of which have never been seen before.  It was five years in the making, and though the sisters are admittedly not curators in the traditional sense, they have given the public an amazingly detailed, close-up glimpse of his life.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Ambling through the 15,000 square-foot space, the viewer encounters a scrapbook redolent of domestic life in Brooklyn (spice racks and fish platters notwithstanding); his studio at 57 Great Jones Street and the Michael Todd VIP room at the Palladium, complete with mirrors and candelabras. Soundtracks add their own ambiance, with “Ain’t No Mountain High Enough” by Diana Ross to entertain you during your wanderings. I’ll leave it to the visitor to decide whether these kitschy environments are clues to the explosive artistic output Basquiat left behind.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The artworks are definitely capable of speaking for themselves. The 41-foot-wide <em>Nu-Nile, </em>created for the Palladium nightclub in 1985 will certainly bring in millions for the estate, managed by the two sisters and their stepmother, Nora Fitzpatrick. Though exhibit offerings are not for sale, Phillips has a $70 million auction price set for a “Devil” painting from 1982, and his skull painting sold in 2017 for a record-shattering $10.5 million. The Broad Museum in Los Angeles and the Orlando Museum of Art both have exhibitions running concurrently.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Profit clearly plays its hand with $45 timed tickets sold online and a King Pleasure Emporium where leather goods, athletic wear, and housewares are available for sale.  But make no mistake: Jean-Michel Basquiat was an avatar of his generation and will probably continue to be for decades to come.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1basquiat_tim_evanson-flickr.jpg" style="height:452px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em><strong>Our Selves: Photographs by Women Artists </strong></em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Carrie Mae Weems, one of the more celebrated women photographers in MOMA’s current exhibition, challenges the viewer with the following question: “In one way or another, my work endlessly explodes the limits of tradition. I’m determined to find new models to live by. Aren’t you?”</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The truth is, women photographers have been exploding expectations for decades.  Their work has simply been under the radar for far too long.  This exhibition, through Helen Kornblum’s generous gift, proves that women can carry the demands and diversity of the profession. From portraiture, photojournalism, social documentary, avant-garde experimentation, advertising, and performance, the proof is here in every image encountered.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Portraiture, both timeless in intent as well as in contemporary in-your-face style, is immediately evident. Sharon Lockhart’s untitled chromogenic print from 2010, gives us a young woman absorbed in the puzzle before her. It is reminiscent of a Dutch Renaissance masterwork. The serenity and beauty of the composition appeared at my viewing to have a magnetic draw on onlookers. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Mary Ellen Mark’s <em>Tiny, Halloween, Seattle,</em> (1983) combines insolence and innocence. This is an adolescent who will not just “sit pretty” for the camera. Mark’s mastery in capturing ordinary Americans could stand beside Robert Frank’s iconic fifties portraiture any day. There are other examples that resonate, such as Catherine Opie’s <em>Angela Scheirl</em> (1993). The subject we are told is a member of Opie’s LGBTQ community—confident in her male attire; confident as well in her act of becoming her new moniker, Hans. Hullea J. Tinsinhnahjinnie is a Native-born Navajo artist who has chosen to reinterpret images of Native peoples. In <em>Vanna Brown, Azteca style</em> (1990) she has surrealistically recast the Wheel of Fortune game show hostess Vanna White as an indigenous woman shining forth from a TV screen.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In this writer’s opinion, the power of black and white, and the countless shades of gray that lay between the ends of the spectrum are the greatest challenges in photographic art. It can also provide the greatest awards to those who persist. A lesser-known photographer, Consuelo Kanaga, gives us a little Black girl in profile. Immersed in her thoughts, the whiteness of her uniform blouse and her wide-brimmed straw hat contrasting with her small dark limbs, speaks volumes about her silent isolation.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">There are many others, such as the great Dorothea Lange, who shows up her great portraiture in one of the vitrines of letters and publications on display. Susan Meiselas, an intrepid photographer of foreign shores, gives us a traditional mask used in the Popular Insurrection, Monimbo, Nicaragua from 1978. Both these photographers have shown that a social conscience is often inherent in the female gaze.  </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1womenphotographers.jpg" style="height:600px; width:450px" typeof="foaf:Image" /></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Sandra Bertrand is</em> Highbrow Magazine’s <em>chief art critic.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Image Sources:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Sandra Bertrand</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Tim Evanson (</em><a href="https://www.flickr.com/photos/timevanson/33034391143" style="color:#0563c1; text-decoration:underline"><em>Flickr</em></a><em>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Rocor (</em><a href="https://www.flickr.com/photos/rocor/47081191994" style="color:#0563c1; text-decoration:underline"><em>Flickr</em></a><em>, Creative Commons)</em></span></span></p> <p> </p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/mary-ellen-marks" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">mary ellen marks</a></div><div class="field-item odd" rel="dc:subject"><a href="/faith-ringgold" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">faith ringgold</a></div><div class="field-item even" rel="dc:subject"><a href="/jean-michel-basquiat" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jean michel basquiat</a></div><div class="field-item odd" rel="dc:subject"><a href="/art-world" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">art world</a></div><div class="field-item even" rel="dc:subject"><a href="/new-york-art-shows" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new york art shows</a></div><div class="field-item odd" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item even" rel="dc:subject"><a href="/basquiat" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">basquiat</a></div><div class="field-item odd" rel="dc:subject"><a href="/art-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">art exhibits</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Sandra Bertrand</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Tue, 07 Jun 2022 17:23:31 +0000 tara 11132 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/20003-your-radar-highlights-art-world#comments Brendan Dawes Exhibit Captures the Artist’s Personal Stories https://www.highbrowmagazine.com/19973-brendan-dawes-exhibit-captures-artist-s-personal-stories <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 05/26/2022 - 14:50</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1dawes.jpg?itok=RNdtifkB"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1dawes.jpg?itok=RNdtifkB" width="270" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">GAZELL.iO is currently presenting the inaugural solo show by its represented artist Brendan Dawes. The exhibition, <em>Moments Spent with Others</em>, explores the beauty behind moments that may initially seem insignificant and how the concept of time and space is connected to the captivating feeling of interacting with others.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>Moments Spent with Others</em> is an invitation to Dawes’ personal stories wrapped in digital visualizations. Over the recent pandemic, as human interaction became scarce and precious, we grew accustomed to detaching ourselves from others. Dawes embraces these moments by recreating them into datasets, algorithms, and data visualizations by incorporating memories that are personal to the artist but are also universally enjoyed.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Dawes is a UK-based artist using generative processes involving data, machine learning and algorithms to create interactive installations, electronic objects, online experiences, data visualizations, motion graphics and imagery for screen and print. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">A Lumen Prize winner and Aesthetica Art Prize alumni, his work is featured in the permanent collection of New York’s Museum of Modern Art, has been 3D printed on the International Space Station, and has been recognized by awards bodies including Fast Company Innovation Design, Information is Beautiful and D&amp;AD.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>This exhibit is on view through June 25, 2022. For more information, visit: Gazelliarthouse.com</em></strong></span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2dawes.jpg" style="height:605px; width:340px" typeof="foaf:Image" /></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3dawes.jpg" style="height:600px; width:338px" typeof="foaf:Image" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4dawes.jpg" style="height:604px; width:340px" typeof="foaf:Image" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5dawes.jpg" style="height:600px; width:339px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/gazelliio" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">gazelli.io</a></div><div class="field-item odd" rel="dc:subject"><a href="/gazelli-art-house" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">gazelli art house</a></div><div class="field-item even" rel="dc:subject"><a href="/brendan-dawes" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">brendan dawes</a></div><div class="field-item odd" rel="dc:subject"><a href="/moments-spent-others" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">moments spent with others</a></div><div class="field-item even" rel="dc:subject"><a href="/new-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new exhibits</a></div><div class="field-item odd" rel="dc:subject"><a href="/london-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">london artists</a></div><div class="field-item even" rel="dc:subject"><a href="/uk-art-scene" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">UK art scene</a></div><div class="field-item odd" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">The Editors</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Thu, 26 May 2022 18:50:37 +0000 tara 11107 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/19973-brendan-dawes-exhibit-captures-artist-s-personal-stories#comments