Pictured above is John Banovich‘s painting Partners, 2007, from the permanent collection of The James Museum in St. Pete, Florida.
From the museum and artist about the work-
Lions are most affectionate with their companions of the same gender. Male lions will change prides but stay with their coalition partners for their entire lives.
“There is no greater bond in the big cat world than between pride mates.”
– John Banovich
The Energy of Color by Shawn Rainey, aka Fabstraq, was created for the 2023 edition of the SHINE Mural Festival in St. Pete, Florida.
This mural by Gabriel Specter is located in North Collinwood, Cleveland, in the Waterloo Arts District.
The two large paintings pictured above are by Takako Yamaguchi and were on view as part of Whitney Biennial 2024: Even Better Than the Real Thing.
From the Whitney Museum website about the artist-
Takako Yamaguchi’s recent seascapes use meticulously rendered zigzags, tubes, and lines to suggest weather and other natural elements. They reflect Yamaguchi’s experimentation with what she calls “abstraction in reverse,” or taking recognizable forms, like clouds or waves, and abstracting them to the point of pattern. Her interest is less in nature itself than in the artifice that has allowed artists to represent it. The artist aims to paint “umbrellas” that will read as “trees,” referring to a quote by the poet Wallace Stevens, who said, “All of our ideas come from the natural world: Trees = umbrellas.”
The resulting paintings work against Western art historical ideas of “pure” abstraction. The luminous surfaces are intentionally decorative and structured using graphic techniques drawn from Mexican muralism and Japanese print design alike. Throughout her career, Yamaguchi has also resisted assumptions by critics that Japanese aesthetics are inherently minimalist, drawing from the most opulent and intricate aspects of Japanese visual culture.
Yamaguchi’s first solo exhibition in Los Angeles is currently on view at MOCA until 1/4/26.
Happy Birthday to Los Angeles-based artist Betye Saar who turned 99 today! Pictured above is her work The Locksmith, 2018, which was part of the 2019 group exhibition Behind Face at Los Angeles gallery Roberts Projects.
Her biography from the Roberts Projects website-
As one of the artists who ushered in the development of Assemblage art, Betye Saar’s practice reflects on African American identity, spirituality and the connectedness between different cultures. Her symbolically rich body of work has evolved over time to demonstrate the environmental, cultural, political, racial, technological, economic, and historical context in which it exists.
For over six decades, Saar has created assemblage works that explore the social, political, and economic underpinnings of America’s collective memory. She began her career at the age of 35 producing work that dealt with mysticism, nature and family. Saar’s art became political in the 1970’s namely with the assemblage The Liberation of Aunt Jemima in 1972. As did many of the women who came to consciousness in the 1960’s, Saar takes on the feminist mantra “the personal is political” as a fundamental principle in her assemblage works. Her appropriation of black collectibles, heirlooms, and utilitarian objects are transformed through subversion, and yet given her status as a pioneer of the Assemblage movement, the impact of Saar’s oeuvre on contemporary art has yet to be fully acknowledged or critically assessed. Among the older generation of Black American artists, Saar is without reproach and continues to both actively produce work and inspire countless others.
In recent news, Saar has assembled a group of curators to form the Betye Saar Legacy Group, whose purpose will be to “help ensure that museums, art historians, and critics wanting to know more about the artist can continue to do so in the decades to come.” More information here.
Isabelle, by German sculptor Julian Voss-Andreae is located in Palm Springs, California. Voss-Andreae creates sculptures designed to change their appearance- disappearing at times when viewed at a certain angle. His background in science helped to influence this work when he went on to study art.
Below is a section of his biography from his website-
Prior to his art career, Julian Voss-Andreae studied quantum physics and philosophy at the Universities of Berlin and Edinburgh. As a graduate student at the University of Vienna, Voss-Andreae was one of the small team led by 2022 Nobel Prize Laureate Anton Zeilinger that conducted a ground-breaking experiment in quantum mechanics in 1999. The researchers showed that even molecules as big as C-60 “Buckyballs” can reveal their fundamentally quantum nature under the right conditions. Zeilinger’s group found that a beam of them, passed through a diffraction grating, will exhibit the purely wavelike property of interference. Subsequent experiments showed how interactions with the environment (in the form of infrared photons and background gas of different densities) will gradually wash away the ‘quantum-ness’ thanks to the process of decoherence, which is now recognized as the way the classical world emerges from the quantum.
Our Single Garment of Destiny, (pictured below) is located in Washington Gladden Social Justice Park in Columbus, Ohio. It was specifically designed for the park and takes its name and inspiration from the Martin Luther King Jr. quote below.
“All [people] are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.” – Martin Luther King, Jr., Letter from Birmingham Jail (1963)
The video below explains his process when creating the sculptures.
ILL.DES created this mural in 2022 for Tampa Walls.
About the artist and his work from his website-
ILL.DES (David Fratu) is a Romanian-American abstract artist based in Denver, CO whose work is rooted in geometric shapes and technology. With a background in computer engineering, he brings elements of technology into their art, creating visually striking pieces that represent the balance between chaos and order.
His style is characterized by their use of gradients of color and intricate patterns that create a sense of depth and movement. Their compositions are filled with vibrant colors, geometric shapes, and organic line work. The use of optical illusions and visual effects in their pieces adds to the illusive nature of their work, and is influenced by the op-art movement.
Despite the strong geometric shapes and technological influences, his pieces are not cold or mechanical. Instead, their work reflects the complexities and contradictions of the natural world. The use of symmetry and repetition creates a sense of order, while the use of unexpected shapes and colors adds a sense of chaos and unpredictability. Together, their unique compositions form a perfect equilibrium of harmony and discord.
ILL.DES’s work has been exhibited in galleries in Denver and nationwide, and has received critical acclaim for its ability to blend technology, art, and the exploration of the balance between chaos and order. They continue to push the boundaries of what is possible in the world of geometric abstract art, creating pieces that are both visually stunning and thought-provoking.
Maya Hayuk is one of the four artists on view in Brooklyn Museum’s Brooklyn Abstraction: Four Artists, Four Walls. The other artists included are José Parlá, Kennedy Yanko, and the late Leon Polk Smith.
From the museum about Hayuk and this work-
With a diverse practice as a muralist, painter, photographer, gallery founder, and member of several artist collectives, Maya Hayuk has worked internationally to bring vibrancy and movement to urban and exhibition spaces. Weaving layers of paint, she animates walls with what she describes as “perfect imperfection.” These paintings, with their symmetrical organization and brilliantly overlapping colors and drips, are both constructed and improvisational, blurring perceptions of outer and inner space and confronting paradoxes of harmony and dissonance, optimism and hopelessness. Hayuk’s Ukrainian heritage as well as current geopolitical events inspire her to express abstracted physical and psychological landscapes of the war’s front line, simulating the flash points of explosions intersecting with the hope of sunrise.
The exhibition, which takes place on the walls surrounding the museum’s Beaux-Arts Court, remains on view until January 4, 2026.
Liminal, 2019, was created by North Carolina artists Ian Henderson and Shae Bishop, and is located outside the Center for Craft in Asheville.
From the center and Henderson-
The installation explores the idea of the liminal, or state of being in transition, through the shifting pattern created by this large-scale tessellation of concrete tiles.
“Liminal invites the viewer, even the casual passer-by, to enter that liminal state and feel the vastness of a world pulsing with change and uncertainty.”
– Ian Henderson
Filtered Yellow, 1968, by Ohio artist Julian Stanczak, is part of Cleveland Museum of Art‘s permanent collection.
From the museum about the artist and the work-
For more than a half century, Julian Stanczak maintained a distinguished career as an abstract painter interested in how vision works. Filtered Yellow features hundreds of alternating reddish and greenish razor-sharp vertical bands that create the illusion of a yellow shape, despite the absence of pure yellow paint. As typical of his work, it emphasizes a high level of technical mastery rivaled by few.
And from the artist’s website about his work-
“My primary interest is color – the energy of the different wavelengths of light and their juxtapositions. The primary drive of colors is to give birth to light. But light always changes; it is evasive. I use the energy of this flux because it offers me great plasticity of action on the canvas. To capture the metamorphoses – the continuous changing of form and circumstance – is the eternal challenge and, when achieved, it offers a sense of totality, order, and repose. Color is abstract, universal – yet personal and private in experience.”
“If I take time to really look at what I’m seeing, there is no limit to the secrets unveiled. I look to nature for clarification and crystallization, for things that I can use in my paintings. I live in the moment of recognition. In search for power through abstract clarity, I select shapes that have the maximum possibility for metamorphic action. We can only see what we understand!”