Painting – Page 16 – longlistshort

Pennsylvania Art Shows- “The Crafted World of Wharton Esherick” at Brandywine Museum of Art

Architecture, Art, Art Shows by Location, Artists, Design, Furniture, Mixed Media, Painting / Painters, Pennsylvania Art Shows, Sculptors / Sculpture

Jan 172025

Flat Top Desk, 1929 and 1962, Walnut and padauk, Flat Top Desk Chair, 1929, Walnut, padauk and laced leather seat, Flat Top Desk Figure, 1929, Bronze cast of cocobolo original

“Head of Dreiser”, ca.1927, Pine- This is a portrait of writer Theodore Dreiser who Esherick met in 1924 through the Hedgerow Theatre. This was a rough, geometric sketch for a finished mahogany piece.

“Self Portrait”, 1919, Oil on canvas

The Crafted World of Wharton Esherick, on view at Brandywine Museum of Art, presents a wonderful look at the artist’s varied work from throughout his career.

From the museum-

This exhibition explores the interdisciplinary creativity of Wharton Esherick (1887-1970), the famed American artist best known as the father of the Studio Furniture Movement.

Esherick considered his hillside home and studio, now the Wharton Esherick Museum (WEM), the best representation of his iconoclastic vision, calling it “an autobiography in three dimensions.” Built between 1926 and 1966, his unconventional escape on the verdant slopes of Valley Forge Mountain houses almost 3000 iconic works of art from across Esherick’s seven decades of artistic practice.

The Crafted World brings selections from this rich and rarely loaned collection to a broader public, including many objects never before seen except in Esherick’s home and studio. Detailing the artist’s career from his early woodcut illustrations for books by members of the avant-garde literati to his revolutionary reimagining of furniture forms as organic sculpture, works will be presented in thematic vignettes that invite visitors into Esherick’s story and bring the essence of his creative world into the gallery.

Below are a few more selections.

“Drop Leaf Desk”, 1927

“Hedgerow Theatre Lobby Stair Model”, 1934, Walnut; “Spiral Staircase Model”, 1963,Pine; “Bok House Chimney Stair Model”, 1937

From the museum about the staircase models above-

Esherick made numerous objects centering on the twist or spiral to represent natural growth. He returned to this form in models for staircase commissions for the Bok House- in which the spiral is created through gradual shifts in the shape and width of each step- and for the Hedgerow Theatre– which features a staircase like the Studio’s that revolves around a center post.

“Moonlight on Alabama Pines”,1919-20, Oil on canvas, carved wood frame with metallic paint

Alabama Pine woodblock, 1929

“Oblivion” 1934, Walnut

About the sculpture above, Oblivion, from the museum-

Moved by the emotion and physicality of actors, Esherick spent many hours in the balcony of the Hedgerow Theatre, in nearby Rose Valley, sketching performers, and many more hours designing stage sets, props, posters, and other visual elements for their productions. Oblivion was inspired by the passionate embrace of two actors in The Son of Perdition, a play by Lynn Riggs. This organic, fluid sculpture offers an exaggerated rendering of emotion as two intertwined bodies, carved from a single log, seem to softly dissolve into one another. Oblivion was prominently featured in the sculpture portion of the second Whitney Biennial in 1936.

This exhibition closes Sunday, 1/19/25.

Los Angeles Art Shows- “Post Human” at Jeffrey Deitch

Art, Art Shows by Location, Artists, California Art Shows, Ceramic Art, Conceptual Art, Digital Art, Drawing, Fiber Arts, Glasswork, Installation Art, Los Angeles Art Shows, Mixed Media, Painting / Painters, Photographers / Photography, Sculptors / Sculpture, Video and Film

Jan 162025

Charles Ray “Family Romance”, 1993, and Ashley Bickerton “F.O.B.:Tied (White)”, 1993/2018

Charles Ray “Family Romance”, 1993

Maurizio Cattelan “WE”, 2010

Tishan Hsu, “mammal-screen-green-2”, 2024

Work by Josh Kline

“Untitled”, 2008-9, and “Two Breasts”, 1990, by Robert Gober

Mike Kelley, “Brown Star”, 1991 (left) and “The Judge”, 2018, by Jana Euler (painting on right)

Wanghechi Mutu, “One Cut”, 2018, (center sculpture); photographs by Cindy Sherman, 2010/2023

“Pep Talk”, 2024, by Cajsa von Zeipel and Jamian Juliano-Villani, “Women”, 2024, (painting on right)

Post Human, the current group exhibition at Jeffrey Deitch’s Los Angeles location, continues an artistic investigation of humanity that began with the 1992 exhibition of the same name. Some of the over forty artists (and even some of the works) were in the previous iteration, but now their work is placed alongside others made more recently. Seeing them together offers viewers a chance to contemplate the shifts and continuations in culture, technology, and what it means to be human.

From the gallery-

“Post Human was virtually a manifesto trumpeting a new art for a new breed of human,” wrote the art historian and curator Robert Rosenblum discussing the impact of the exhibition in the October 2004 issue of Artforum.

In 1992, Post Human, curated by Jeffrey Deitch, brought together the work of thirty-six young artists interested in technological advancement, social and aesthetic pluralism, and new frontiers of body and identity transformation. Through their art, these artists were exploring the same questioning of traditional notions of gender, sexuality and self-identity that was—and still is—taking place in the world at large. Capturing a developing social and scientific phenomenon, Post Human theorized a new approach to the construction of the self and interpretation of what defines being human. The exhibition set the agenda for the 1990s, and its influence on artists and philosophers led to a new field of academic study.

In her book Posthuman Feminism (2022), the philosopher and feminist theoretician Rosi Braidotti credits Deitch for capturing “the avant-garde spirit of the age by foregrounding the role of technology in blurring binary boundaries between subjects and objects, humans and non-humans.” She adds, “Post Human showed also that art assumed a much more central role as it merged with science, computerization and biotechnology in further re-shaping the human form and perfecting a flair for the artificial.”

The catalogue of the 1992 exhibition, with its visual essay and innovative design by the late Dan Friedman, also proved lasting relevance. Deitch’s influential essay predicted many of the scientific and sociological shifts that have since shaped our cultural and social environment, even the pandemic.

More than thirty years later, Post Human at Jeffrey Deitch, Los Angeles, revisits the theme of the exhibition, bringing the discourse into the present. The show includes several of the key figures who participated in the 1992 exhibition in dialogue with some of the most interesting artists continuing the exploration of these themes today. In keeping with the social and technological trends that inspired it, the interest in figuration of the original artists and the younger generations presented in the show is conceptual rather than formal.

Much of the then-new figurative work was descriptive of the “real” world but cannot, in fact, be called “realistic” in the conventional sense. That is because so much of the “real” world the artists were reacting to had become artificial. With the concept of the real disintegrating through an acceptance of the multiplicity of reality models and the embrace of artificiality, Realism as it was once known was no longer possible. This new figurative art may have actually marked the end of Realism rather than its revival.

Fully integrated into our pop psychology, the term “posthuman” is now used in everyday conversations and has come to primarily identify with the trope of the cyborg. This exhibition, like the 1992 show, however, examines multiple declinations and aspects of the postmodern construction of personality and the engineering and transcendence of the human body. The artists in the exhibition embrace notions of plurality, metamorphosis and multi-beingness. Cyber-futuristic, surgically improved, commodified, stereotyped, and politicized, the “cultured body” lends itself to reflect on a variety of concerns that define our age.

Several works in the exhibition will embrace the biometrical aestheticization of the human body to address the decay paranoia, the social conflict over genetic engineering and the use of biotechnologies, and the conversation around the limits of “natural” life.” Artists have long engaged with the threats of biometric surveillance, the possibility of virtual reality overtaking our physical one, the accelerating real-time consumption of experience, and the automation of the workforce. As AI’s ability to fulfill our creative and specialized needs has reached mass fruition, artists are confronting the impact of what was once considered speculative science fiction, an everyday reality.

Post Human was first presented at FAE, Musée D’art Contemporain, Pully/Lausanne (June 14–September 13, 1992) and traveled to Castello di Rivoli—Museo d’Arte Contemporanea, Rivoli/Turin (October 1–November 22, 1992), Deste Foundation, House of Cyprus, Athens (December 3, 1992–February 14, 1993), Deichtorhallen Hamburg (March 12–May 9, 1993), Israel Museum, Jerusalem (June 23–October 10, 1993). A number of the works shown in 1992-1993 are now in international museum collections. Matthew Barney’s REPRESSIA (decline) (1991) is now in the collection of LACMA, where it was on view in 2023. Posthumanism has since been the subject of countless books, movies and high-profile exhibitions.

Artists in the exhibition: Isabelle Albuquerque,  Matthew Barney , Ivana Bašić , Frank Benson,  Ashley Bickerton,  Maurizio Cattelan , Chris Cunningham , John Currin,  Alex Da Corte,  Olivia Erlanger , Jana Euler , Rachel Feinstein,  Urs Fischer,  Pippa Garner , Robert Gober , Hugh Hayden,  Damien Hirst , Tishan Hsu,  Pierre Huyghe,  Anne Imhof , Alex Israel,  Arthur Jafa,  Jamian Juliano-Villani , Mike Kelley,  Josh Kline,  Jeff Koons , Paul McCarthy , Sam McKinniss,  Mariko Mori , Takashi Murakami , Wangechi Mutu , Cady Noland,  Charles Ray , Cindy Sherman,  Kiki Smith , Hajime Sorayama,  Anna Uddenberg,  Cajsa von Zeipel , Jeff Wall , Jordan Wolfson, and  Anicka Yi

This show closes Saturday, 1/18/25.

Los Angeles Art Shows- “Giant Robot Biennale 5” at the Japanese American National Museum

Art, Art Shows by Location, Artists, California Art Shows, Drawing, Installation Art, Los Angeles Art Shows, Mixed Media, Painting / Painters, Sculptors / Sculpture

Jan 042025

Work by James Jean

Work by Luke Chueh

Work by Giorgiko, moniker of husband and wife duo Darren and Trisha Inouye. These works are an homage to Darren’s family as Japanese Americans that experienced the WWII era.

Work by Mike Shinoda

Work by Yoskay Yamamoto

Work by Yoskay Yamamoto

Giant Robot Biennale 5 at the Japanese American National Museum features artwork from Sean Chao, Felicia Chiao, Luke Chueh, Giorgiko, James Jean, Taylor Lee, Mike Shinoda, Rain Szeto, and Yoskay Yamamoto.

From the museum about the exhibition and Giant Robot–

Giant Robot launched in 1994 as a hand-assembled zine in Los Angeles and grew into a staple of Asian American alternative pop culture. Since 2007, JANM has partnered with Eric Nakamura, founder of Giant Robot, to produce the biennale that is dedicated to showcasing the diverse and creative works brought together by the Giant Robot ethos.

This year marks Giant Robot’s thirtieth anniversary. While the zine and magazine are no longer published, its legacy and influence are indelible parts of our culture. The shop and gallery continue to thrive in Sawtelle’s Japantown and reflect the independent spirit of its origins. Giant Robot continues to be a highly influential brand encompassing many aspects of Asian and Asian American popular culture. These galleries contain a cross section of Giant Robot’s stalwart artists, emerging talents, and friends.

The video below from PBS Artbound is a great documentary about the Giant Robot project.

This exhibition closes Sunday, 1/5/25. On the same day the museum is free and hosting the 2025 Oshogatsu Family Festival- Year of the Snake event which will include cultural performances, crafts and other activities.

Los Angeles Art Shows- Firelei Báz at Hauser & Wirth

Art, Art Shows by Location, Artists, California Art Shows, Collage, Conceptual Art, Los Angeles Art Shows, Mixed Media, Painting / Painters, Sculptors / Sculpture

Dec 302024

“Atabey (or change the body that destroys me)”,2024, Oil and acrylic on archival printed canvas

“Zemi (A New Spelling of My Name)”, 2024

“Zemi (A New Spelling of My Name)”, 2024 (detail)

“Ayida-Weddo (freed from all that is not marvelous)”, 2024, Oil and acrylic on archival printed canvas

“Ayida-Weddo (freed from all that is not marvelous)”, 2024, Oil and acrylic on archival printed canvas (detail)

“Mawu-Lisa (I build my language out of rocks)”, 2024, Oil and acrylic on archival printed canvas

“Mawu-Lisa (I build my language out of rocks)”, 2024, Oil and acrylic on archival printed canvas (detail)

“Huracán (beyond the triumphs of rootedness)”, 2024, Oil and acrylic on archival printed canvas

Firelei Báez has created several stunning paintings for her exhibition The fact that it amazes me does not mean I relinquish it, currently on view at Hauser & Wirth’s downtown Los Angeles location. The historical documents that serve as a background for her beautiful ciguapa figures add another dimension to the complex works.

From the gallery’s press release-

New York-based artist Firelei Báez has achieved wide acclaim over the past decade for her rigorous paintings, drawings and immersive installations that explore the influences of the Afro-Caribbean diaspora. Conjuring forgotten narratives, Báez carefully fills history’s lacunae with joyful rebellion.

This September, in her first exhibition with Hauser & Wirth since joining the gallery in 2023, Báez will present new large-scale canvases, drawings and her first-ever bronze sculpture at the gallery’s Downtown Arts District center in Los Angeles. Complex and layered, Báez’s work depicts fantastical hybrid figures and reimagined worlds. Employing beauty to reprocess the enduring effects of violence and trauma, Báez challenges traditional representations of history, nationality, gender and race. United by common cause, the paintings incorporate a wide range of subjects including art history, science fiction, anthropology, pop culture, folklore and fantasy.

‘The fact that it amazes me does not mean I relinquish it’ is a reference to the work of Martinican writer and philosopher Édouard Glissant, a key figure in shaping theories informing the Caribbean’s influence on the global stage. Drawing inspiration from Glissant’s text, ‘Poetics of Relation’ (1990)—from which the title directly quotes— Báez navigates the tensions between identity and place, using Glissant’s concept of opacity to explore modes of resistance, namely the ability to navigate the world freely within a refusal of being fully understood—both to others and to oneself.

Báez considers mythology an important tool, “a way of correcting the past and projecting a different future. Growing up in the Dominican Republic, the artist heard local folk stories about a mythic femme trickster called a ‘ciguapa’ who was known for her elusiveness. While such lore was shared to discourage unruly and wild behavior, Báez has embraced the ciguapa in her work as a figure of endless possibility. Ever-morphing and multiplying, her composite creatures are often depicted with human legs, a coat of delicate fur and backwards facing feet so that she remains traceless and ultimately unknowable. In the ciguapa, Báez explores the body as a living archive, a shape-shifting repository of meaning and history, whose continuous transformation is inherently defiant.

In the painting, Zemi (A New Spelling of My Name), (2024), a supernatural figure appears at the entrance of a cave. Rather than standing before a blank canvas, Báez begins her paintings over plans that conceal narratives of violence and exploitation. In the aforementioned painting, Báez builds her imagery atop a 19th-Century drawing of the Taíno caves in Santana, Hispaniola. At the time of its production, the illustration functioned as a factual document; however, it was only an approximation of a real location wherein Báez’s hybrid figure materializes, a triumphant manifestation of empowerment and hope in a pieced-together landscape.

This exhibition closes 1/5/24.

Delaware Art Shows- “Fissures in the Frame” at The Delaware Contemporary in Wilmington

Art, Art Shows by Location, Artists, Collage, Conceptual Art, Delaware, Drawing, Fiber Arts, Installation Art, Mixed Media, Painting / Painters, Sculptors / Sculpture, Wilmington

Dec 192024

Lillian Bayley Hoover, “a planet swayed by breath”, 2024, oil on Dibond panel

Lillian Bayley Hoover, “a planet swayed by breath”, 2024, oil on Dibond panel (detail)

Marion Fink, “A mountain top full of achievements-a woman thinking of the sea.”, 2022, monotype, oil color and wax pastel on paper (left) and Lillian Bayley Hoover “here, witnessing now”, 2021, oil and pastel pencil on Dibond panel (right)

Marion Fink, “Night Sky Dreamer”, 2022, monotype, oil color and wax pastel on paper

Lillian Bayley Hoover, “the grass still sings”, 2019, acrylic and oil on Dibond panel, and “no ruined stones”, 2020, oil on Dibond panel

Teresa Shields, “Trending Threads”, 2016-17, embroidered felt and wool letter blocks, wood

Part of The Delaware Contemporary’s series of exhibitions exploring the intersection of art and design, Fissures in the Frame presents work from three artists- Marion Fink, Lillian Bayley Hoover, and Teresa Shields.

From the museum-

Although technology has increased the ease and availability of interaction, human connection has arguably become more difficult. Our daily lives have become reliant on those systems that enable, and even promote, us to interact. Modes of interchange have become more mediated; physical spaces and resources are afforded to those with access, while digital realms are accessible, but commandeer attention away to fabricated unrealities. The undercurrents of which reveal cracks; and fractured existences due to disconnect. Marion Fink, Lillian Bayley Hoover, and Teresa Shields probe these fissures, unveiling their nuance and paradox.

Marion Fink creates layered, large-scale monotype portraits that are rich with narrative elements in surrealistic settings. Raised in the early years of the digital age, Fink’s portraits allude to moments of fragmented realities; the paradox of actual, lived experiences conflated with their existence through the internet. Figures are isolated within fabricated spaces, revealing the parallels between emotion and circumstance. Fink beautifully captures these moments through competing perspectives and complex feelings.

Lillian Bayley Hoover paints landscapes that reveal features realistically while omitting others. These visual fissures that bar the viewer from accessing the remaining painting reflect the perceived separation between nature and the “human world”; one that frequently feels disconnected even though we are all of one world. Hoover investigates how nature is a witness to human life; the designed spaces that shape our world, but also those that we have inherited and how nature acts as a historical record of us.

Multimedia artist, Teresa Shields, presents an interactive installation consisting of 140 individual wooden panels that represent the maximum characters of a post on X (formerly a Tweet on Twitter) and are meant to be moved to form a message. Shields explores our relationship with language; the contradiction between the immediacy of a digital post versus that of a physically crafted message. The activity is simple but offers the opportunity to slow down, collaborate with others, and make new meanings entirely.

This exhibition closes 12/29/24.

Los Angeles Art Shows- “Lumen: The Art & Science of Light” at The Getty Museum

Art, Art Shows by Location, Artists, Books, California Art Shows, Conceptual Art, Glasswork, Illustration, Installation Art, Los Angeles Art Shows, Mixed Media, Painting / Painters, Printmaking, Sculptors / Sculpture

Dec 062024

As part of their programming for PST: Art & Science Collide, Getty Museum is showing Lumen: The Art & Science of Light. The exhibition includes a collection of European medieval artwork, along with several contemporary works, that focus in some way on the science and concept of light.

From the museum about the show-

Through the manipulation of materials such as gold, crystal, and glass, medieval artists created dazzling light-filled environments, evoking, in the earthly world, the layered realms of the divine. To be human is to crave light. We rise and sleep according to the rhythms of the sun, and have long associated light with divinity. Focusing on the arts of western Europe, this exhibition explores the ways in which the science of light was studied by Christian, Jewish, and Muslim philosophers, theologians, and artists during the “long Middle Ages” (800-1600 CE), when science and religion were firmly intertwined. Natural philosophy (the study of the physical universe) served as the connective thread for diverse cultures across Europe and the Mediterranean, uniting scholars who inherited, translated, and improved on a common foundation of ancient Greek scholarship.

This story is equal parts science, poetics, and craft. By bringing together a variety of media that materialize light and objects that communicate how medieval people understood the lights of the heavens and of the eye, this exhibition demonstrates how science informed the artistry of the Middle Ages and Renaissance. To convey the continuing sense of wonder inspired by starry skies or moving light on precious materials, the exhibition includes several contemporary works of art placed in dialogue with historic objects.

Below are a few selections-

“On the Construction of the World”, in “Book of Divine Works (Liber divinorum operum)” (text in Latin), Rupertsberg, Rhineland, Germany, about 1210-40 CE by Hildegard of Bingen (German, 1098-1179 CE), Tempera, gold, and ink on parchment

About this work from the museum-

The nun and philosopher Hildegard of Bingen is known for her deeply religious visionary experiences in which she communed with the fiery “living light” (lux vivens) of God. Yet her evocative spiritual imagery reflects the language of science and cosmology. Shown at lower left, Hildegard, an illuminator as well as author, recorded her dazzling vision of the human at the center of nested elemental spheres. The figure is ringed by heavenly bodies, the clouds, and the winds, all encircled by the figure of flaming Caritas, or Divine Love. As a way to understand humankind’s relationship to the Godhead, Hildegard’s imagery emphasizes the correspondence between the body and the cosmos; just as the four humors affected health, the four winds controlled the earth, and the vivifying power of divine light nourished both.

“The Glorification of the Virgin”, attributed to Geertgen tot Sint Jans, Haarlem, northern Netherlands, about 1490-95 CE, Oil on panel

The painting above by Geertgen tot Sint Jans has so many fascinating details and was part of a section titled Divine Darkness.

The wall text from that section-

Christianity, Judaism, and Islam all associate God with light. In the Creation story told in Genesis, when light was created, so too was darkness. As medieval optical theorists understood that sight was contingent upon light and that bodily vision was not possible in darkness, theologians of the time equated the unknowable, invisible aspects of God with darkness. According to a medieval “negative theology,” God exists beyond human perception and poses a challenge to vision itself. The fifteenth-century Christian theologian Nicholas of Cusa wrote that “God is found when all things are left behind; and this darkness is light in the Lord.” Such contradictory associations between God and both light and darkness were fundamental to the verbal and visual expressions used to elucidate the nature of the divine.

And about the painting-

Golden light surrounds the glorified Virgin Mary and Christ child at the center of this intimate and absorbingly detailed devotional painting as a luminous host of angels fills the heavens with eternal music. Their brightness contrasts with the dark perimeter that envelops this apocalyptic vision to suggest the ineffable darkness in which God dwells.

Constellations from a Hebrew Translation of Ptolemy’s “Almagest”, In an astronomical anthology (text in Hebrew), Catalonia, about 1361 CE, Tempura, gold, and ink on parchment and Astrolabe (with Hebrew and Judeo-Arabic Script), Iberia (Spain) or Italy, 1300s CE

From the museum about these two items-

In the Muslim and Christian courts of Europe, and particularly in Iberia, highly educated, multilingual Jews held important positions as physicians and astrologers. Jewish practitioners of these related fields contributed original works on astronomy, mathematics, and philosophy, drawing from and improving on Greco-Arabic sciences. At left, the Hebrew translation of Ptolemy’s Almagest (a work that was little known in Europe before 1200) updated the ancient text with the addition of astronomical tables that guided religious observance. Only a small number of European astrolabes with Hebrew inscriptions survive. This exquisite example lists the names of twenty-four stars in a combination of Hebrew and Judeo-Arabic. The centermost circle marks the ecliptic, or the sun’s path, and is labeled with the zodiacal signs in Hebrew.

“Untitled (Mugarnas)”, 2012, Monir Shahroudy Farmanfarmaian, Mirrors, reverse-glass painting, and plaster on wood

One of the most impressive contemporary pieces in the show was the sculpture pictured above, by Monir Sharoudy Farmanfarmaian, which captured and reflected light so beautifully.

About the work from the museum-

Monir Shahroudy Farmanfarmaian was deeply inspired by a visit to the Shah Cheragh shrine in Shiraz, Iran. The vaulted domes and walls of that site are covered in dazzling, intricate mirror mosaics that fracture and dematerialize space while reflecting light and amplifying movement and activity in the shrine below. Farmanfarmaian began exploring these mosaic techniques, eventually collaborating with master artisans to produce sculptural and wall-mounted works that incorporate mirror mosaic and reverse-glass painting. Untitled (Mugarnas) adopts the sacred and decorative forms that are common in Islamic architecture, and expresses the perfection of creation.

This exhibition closes 12/8/24.

Brooklyn Art Shows- Leon Polk Smith from “Brooklyn Abstraction: Four Artists, Four Walls” at Brooklyn Museum

Art, Art Shows by Location, Artists, Brooklyn, Conceptual Art, Installation Art, New York Art Shows, Painting / Painters

Nov 292024

Leon Polk Smith is one of the artists featured in Brooklyn Museum’s Brooklyn Abstraction: Four Artists, Four Walls, on view until July 2025. His work was the impetus for the exhibition which is located on the walls of the museum’s Beaux-Arts Court.

From the museum about the artist-

Known for his bold use of color and geometry, the “hard-edge” painter Leon Polk Smith drew from his youth in Oklahoma and later in life immersion into the New York City art scene. Born in what was then Indian Territory, which became Oklahoma the following year, Smith was raised on a farmstead settled among the Chickasaw and Choctaw Nations. Although his parents were of Cherokee descent, Smith was never enrolled as a citizen of the Cherokee Nation and did not publicly claim his Native heritage until the end of his life. The influence of his Southwest origins and his upbringing among Native American communities can be seen through his vibrant use of color, the abstract implication of landscape and the farmland that he was raised on, and the use of symbolism that reflects the style of artworks produced by those around him.

In his adult life, Smith trained and worked as an educator while continuing to pursue painting. Without formal training in fine arts, he had his first solo exhibition at Uptown Gallery in New York City in 1941. In 1945, Smith settled permanently in the city. The Brooklyn Museum hosted his first and only major retrospective, “Leon Polk Smith: American Painter”, in 1995. The artist passed away the following year, after which his estate bequeathed eighteen works to the Museum.

California Art Shows- Matisse Prints at Hammer Museum and Palm Springs Art Museum

Art, Art Shows by Location, Artists, California Art Shows, Collage, Los Angeles Art Shows, Painting / Painters, Palm Springs, Printmaking

Nov 232024

Both Hammer Museum in Los Angeles and Palm Springs Art Museum are showing prints from Henri Matisse’s Jazz. It’s interesting to see the same work but in two different contexts based on the curation.

At Hammer Museum they are part of the group exhibition Sum of the Parts: Serial Imagery in Printmaking, 1500 to Now, on view until 11/24/24.

From the museum-

Printmaking’s capacity for serial imagery was recognized during the Renaissance in Europe and has continued to be explored by artists across centuries and geographies to creative, oftentimes experimental ends. Print publishers had a hand in issuing series, which could be conceived complete from the start, expanded from shorter sets, or even formed from existing bodies of related works. Diverse organizing principles have shaped the serial format, including pictorial narratives, iconographic groupings, formal innovations, thematic variations, and sequences measuring time and marking place, as well as structural, modular, and conceptual progressions. Importantly, the creative act itself is an open-ended serial pursuit, with each gesture, idea, and decision interacting with or informing the next.

While we can appreciate an individual print extracted from a series as a work in its own right, our visual perceptions, intellectual interpretations, and emotional responses shift when we view multiple images collectively: the whole becomes greater-or other-than the sum of its parts. New meanings surface as commonalities, patterns, or differences emerge. Selected from the collection of the Grunwald Center for the Graphic Arts, this exhibition presents prints conceived as sets or series and further considers artists’ informal serial procedures and approaches to printmaking across five centuries.

At Palm Springs Art Museum they are part of Art Foundations, which places different works together in from their collection into groups organized in different themes. Matisse is paired with Ellsworth Kelly in a section devoted to “artmaking through the angle of a given concept, with each wall dedicated to a single concept: pure color, automatic painting, text as a motif, or ready-made.”

From the museum about the exhibition-

Art Foundations explores how various art forms have been produced throughout the last two centuries. It presents a succession of artwork groupings across multiple media and disciplines, bringing together works not usually shown in the same space. Meant to be visited clockwise, each gallery provides a different angle on what we consider art, with each grouping questioning how art is made, why, where, and by whom.

This presentation shifts the lens through which we look at art, allowing us to explore gallery after gallery, the conception and the material of artmaking, and the spaces where it is created. Art Foundations brings together academically trained and untrained artists as well as visual arts, architecture, design, and glass, displaying the breadth and interconnectedness of the museum’s collection.

For more on Matisse’s Jazz, The Metropolitan Museum of Art provides detailed information on its website.

Nov 152024

78th Street Studios, located in Cleveland, is the largest art and design complex in Northeast Ohio. The building is home to several art galleries, artist studios, performance spaces, and businesses, and is a great place to see local art.

Tonight, 11/15, the complex and several of its creative spaces will be open from 5-9pm for its monthly Third Friday event.

Below are some selections from April of this year.

Work by Mark Yasenchack and paintings by Jenniffer Omaitz

“Love Triangle” by Jenniffer Omaitz

Gallery 202 has a variety of work from local artists for sale and also hosts exhibitions. Above is work from Jennifer Omaitz’s exhibition Where Love Lives and mixed media work by Mark Yasenchack.

Sculptures and installations can be found throughout the building like the light sculpture pictured above by Dana L. Depew.

Rebecca Cross’ installation Rock Cloud, was part of her exhibition Mapping the Sensorial at HEDGE Gallery. The gallery focuses on promoting contemporary artists from Northeast Ohio.