ArtSlant - Recently added en-us 40 Karel Appel - The Phillips Collection - June 18th - September 18th <p style="text-align: justify;">Karel Appel (1921&ndash;2006) is perhaps the most renowned Dutch artist of the latter half of the 20th century and one of founding members of the avant-garde COBRA group. Marking the 10th anniversary of the artist&rsquo;s death, this survey of 22 paintings and sculptures provides a fresh look at an oeuvre that goes beyond the 1950s, spanning more than 60 years. The exhibition revisits Appel&rsquo;s early interest in children&rsquo;s art, his stylistic experiments, and his highly personal&mdash;and sometimes almost abstract&mdash;interpretation of traditional subjects like the nude, the portrait, and the urban or rural landscape.&nbsp;<em>A Gesture of Color</em>&nbsp;is a part of an international reappraisal of Appel&rsquo;s work, which includes exhibitions in The Hague, Paris, and Munich.</p> Sun, 26 Jun 2016 17:08:17 +0000 Group Show - ICA (The Institute of Contemporary Art - Boston) - November 16th - March 26th, 2017 <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p>Collections of art, artifacts, and natural material reveal unexpected relationships and affinities.</p> <p class="small">#TheArtistsMuseum</p> <p style="text-align: justify;">The desire to collect objects and images of personal significance, and to make connections between them, is a nearly universal human experience. For centuries, artists have collected artworks, along with diverse cultural artifacts and natural materials, as vital sources of inspiration and to create highly individualized models of their world.&nbsp;<em>The Artist&rsquo;s Museum</em>&nbsp;begins with this impulse to collect and connect, bringing together large-scale installations, photography, film, and videos that employ artworks from the past as material in the present, animating existing artworks, images, and histories to reveal art&rsquo;s unexpected relationships and affinities. Each of the artists in&nbsp;<em>The Artist&rsquo;s Museum</em>reimagines the lives of artworks and charts recurring forms and themes across cultures and history. They tweak the language of museum display and organization to engage a variety of disciplines and subjects, from dance, music, and design to gender, sexuality, and technology.</p> <p style="text-align: justify;">Works in the exhibition include&nbsp;<em>The Earth is a Magnet</em>, 2016, a major new commission by Anna Craycroft that brings the photography, biography, and inventions of Berenice Abbott, famed for both her street photography and rigorously scientific images made at MIT, together with video, sculpture, and photography by a peer group of younger artists. Rosa Barba&rsquo;s lush 35mm film&nbsp;<em>The Hidden Conference: About the Discontinuous History of Things We See and Don&rsquo;t See</em>, 2010, imagines a narrative in which paintings and sculptures in storage at Berlin&rsquo;s Neue Nationalgalerie serve as protagonists. Christian Marclay&rsquo;s sixteen-monitor video installation&nbsp;<em>Shake Rattle and Roll (fluxmix)</em>, 2005, features the artist literally playing the Walker Art Center&rsquo;s Fluxus collection. Carol Bove&rsquo;s sculptural meditation on the latent energies of display,&nbsp;<em>La Travers&eacute;e Difficile</em>, 2008, marshals Ren&eacute; Magritte and Gerald Heard as inspirations for a mini-encyclopedic museum. Rachel Harrison&rsquo;s photographic series&nbsp;<em>Voyage of the Beagle</em>, 2007, surveys human and animal forms across sculptural manifestations ranging from taxidermy to mannequins, signs, and public art. Mark Leckey&rsquo;s uncanny moving-image work&nbsp;<em>Cinema in the Round</em>, 2008, develops unexpected connections between artworks, media technology, and popular culture across time and space, both real and virtual. Pierre Leguillon accompanies a collection of artworks and photographs of dancers with a lightshow and soundtrack by Amy Winehouse in&nbsp;<em>The Great Escape</em>, 2012.</p> <p style="text-align: justify;"><em>The Artist&rsquo;s Museum</em>&nbsp;locates these diverse works within a cultural moment and artistic impulse bookended by the historical cabinet of curiosities and 20th century image libraries, and our current era of the hyperlink and circulation of digital images.&nbsp;Each artwork reconfigures established narratives, asking each of us to find our place amongst newly imagined worlds.</p> <p style="text-align: justify;"><em>The Artist&rsquo;s Museum</em>&nbsp;features works by Rosa Barba, Carol Bove, Anna Craycroft, Rachel Harrison, Louise Lawler, Mark Leckey, Pierre Leguillon, Goshka Macuga, Christian Marclay, Xaviera Simmons, Rosemarie Trockel, and Sara VanDerBeek.</p> <p style="text-align: justify;">&nbsp;</p> </div> </div> </div> <div class="field field-name-field-notes field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p class="small" style="text-align: justify;"><em>The Artist&rsquo;s Museum</em>&nbsp;is&nbsp;organized by Dan Byers, Mannion Family Senior Curator,&nbsp;with Jeffrey De Blois, Curatorial Assistant.&nbsp;A fully illustrated catalogue features texts by Byers, Claire Bishop, Lynne Cooke, and Ingrid Schaffner, as well as a historical compendium of influential 20th-century artworks and exhibitions that provide important precedent to the works in the exhibition. &nbsp;&nbsp;</p> <p class="small" style="text-align: justify;">Major support is provided by The Andrew W. Mellon Foundation and&nbsp;The Andy Warhol Foundation for the Visual Arts.</p> <p class="small" style="text-align: justify;">Additional support is generously provided by Steve Corkin and Dan Maddalena, Tristin and Martin Mannion, Ellen Poss, Charlotte and Herbert S. Wagner III, and Anonymous.</p> </div> </div> </div> Sun, 26 Jun 2016 16:28:48 +0000 Group Show - ICA (The Institute of Contemporary Art - Boston) - August 17th - January 16th, 2017 <p style="text-align: justify;"><em>First Light</em>&nbsp;brings together new acquisitions and permanent-collection&nbsp;favorites in a&nbsp;series of interrelated and stand-alone exhibitions.</p> <p class="small" style="text-align: justify;">#ICAFirstLight</p> <div class="field field-name-body field-type-text-with-summary field-label-hidden" style="text-align: justify;"> <div class="field-items"> <div class="field-item even"> <p>Coinciding with the ten-year anniversary of ICA&rsquo;s move to its iconic waterfront building, this exhibition will celebrate the museum&rsquo;s first decade of collecting.&nbsp;Drawn entirely from ICA&rsquo;s collection and featuring multiple thematic, artist-specific, and historical sections, the exhibition will bring together both new acquisitions and favorites from the permanent collection. Conceived as a series of interrelated and rotating stand-alone exhibitions, this presentation will highlight major singular works from the collection, such as a newly acquired monumental cut-paper silhouette tableau&nbsp;by Kara Walker, as well as the Barbara Lee Collection of Art by Women, groupings of work by artists held in depth such as Louise Bourgeois and Nan Goldin, and thematic and art-historical groupings. A new multimedia web platform will be created to mark the occasion.</p> </div> </div> </div> <div class="field field-name-field-notes field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p class="small" style="text-align: justify;">This exhibition is organized by ICA&rsquo;s curatorial department under the leadership of Eva Respini, Barbara Lee Chief Curator,&nbsp;with Jessica Hong, Curatorial Assistant.</p> <p class="small" style="text-align: justify;"><em>First Light: A Decade of Collecting</em>&nbsp;<em>at the ICA</em>&nbsp;is sponsored by</p> <div class="dnd-widget-wrapper context-sdl_editor_representation type-image image-33 "> <div class="dnd-atom-rendered"> <div class="image"><a class="ilink" href=""><img src="" alt="logo" width="500" height="60" /></a></div> </div> </div> <p class="small">This project is supported in part by an award from the National Endowment for the Arts.</p> <p class="small">Additional support is generously provided by Fiduciary Trust Company, Chuck and Kate Brizius,&nbsp;Katie and Paul Buttenwieser, Karen and Brian Conway,&nbsp;the Robert E. Davoli and Eileen L. McDonagh Charitable Foundation, Jean-Fran&ccedil;ois and Nathalie Ducrest, Cynthia and John Reed, and Charles and Fran Rodgers.</p> <div class="dnd-widget-wrapper context-sdl_editor_representation type-image image-33"> <div class="dnd-atom-rendered"> <div class="image"><a class="ilink" href=""><img src="" alt="logo" width="500" height="139" /></a></div> </div> </div> &nbsp; <div class="dnd-widget-wrapper context-sdl_editor_representation type-image"> <div class="dnd-atom-rendered"> <div class="image"><a class="ilink" href=""><img src="" alt="Fiduciary Trust logo" width="200" height="43" /></a></div> </div> </div> </div> </div> </div> <p>&nbsp;</p> Sun, 26 Jun 2016 16:22:50 +0000 Ugo Rondinone - ICA (The Institute of Contemporary Art - Boston) - May 17th - September 11th <p style="text-align: justify;">Best known for his large-scale sculptures and installations, Ugo Rondinone (born 1964, Brunnen, Switzerland) works in a diverse range of media, including drawing, painting, photography,&nbsp;and video. Rondinone&rsquo;s series&nbsp;<em>Moonrise&mdash;</em>his first figurative sculptures&mdash;are eight-foot-high busts derived from masks. Modeled in clay before being&nbsp;cast in aluminum&nbsp;and painted, the sculptures show the enduring marks of the artist&rsquo;s hand. Rondinone has long been interested in the subject of time, and he represents it here by the relationship&nbsp;between moon, tide, and calendar: each of the twelve sculptures in the series was made in homage to the moon and is&nbsp;named after a month of the calendar year. Two of the twelve are on view here. These&nbsp;monumental visages, with playfully distorted faces that smile&nbsp;and grimace, convey a kind of uncanny romanticism,&nbsp;welcoming wonder and empathy in equal measure.</p> <p style="text-align: justify;">Installed outside of the ICA,&nbsp;<em>MOONRISE. east. april</em>&nbsp;and M<em>OONRISE. east. may</em>, both from 2005, will welcome visitors to the ICA all summer long.</p> Sun, 26 Jun 2016 16:13:53 +0000 Geoffrey Farmer - ICA (The Institute of Contemporary Art - Boston) - April 13th - July 17th <p style="text-align: justify;">&ldquo;There is a definite poetry and magic to Mr. Farmer&rsquo;s work.&rdquo; &ndash;<em>New York&nbsp;Times</em></p> <p style="text-align: justify;">&ldquo;Farmer&rsquo;s dizzying display is more than a bit marvelous&hellip;&rdquo;&nbsp;&ndash;<em>Boston&nbsp;Globe</em></p> <p class="small" style="text-align: justify;">#GeoffreyFarmer</p> <div class="field field-name-body field-type-text-with-summary field-label-hidden" style="text-align: justify;"> <div class="field-items"> <div class="field-item even"> <p>Geoffrey Farmer (b. 1967, Vancouver) is best known for his installations and large-scale, sculptural photo collages. This immersive survey of the artist&rsquo;s recent major &ldquo;paper works&rdquo; presents room-sized installations composed of hundreds of small sculptures made of cutout photographs, fabric, and various supports. In these recent works, processions of figures assembled from fragments of book and magazine photography and illustration manifest the artist&rsquo;s interest in the cross-pollination of historical and vernacular imagery. Each spectacular composition begins to chart the historical contours of our image-saturated contemporary culture, and suggest the recurring cultural themes and formal patterns. Farmer uses movement, sound, animation, puppet characters, and a panoply of highly choreographed bodies and characters to investigate world history from the different angles of its photographic and sculptural accounts.</p> </div> </div> </div> <div class="field field-name-field-notes field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p class="small" style="text-align: justify;">Organized by Dan Byers, Mannion Family Senior Curator, with Jessica Hong, Curatorial Assistant.</p> </div> </div> </div> Sun, 26 Jun 2016 16:10:42 +0000 Liz Deschenes - ICA (The Institute of Contemporary Art - Boston) - June 29th - October 16th <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">A &ldquo;quiet giant&rdquo; (<em>New York Times</em>) of contemporary photography, Liz Deschenes pushes the very limits of the&nbsp;medium.</p> <p class="small" style="text-align: justify;">#LizDeschenes</p> <p style="text-align: justify;">Deschenes&nbsp;(b. 1966, Boston), is known for her lushly beautiful and meditative work in photography and sculpture, and&nbsp;since the early 1990s has produced a singular and influential body of work that probes the relationship between the mechanics of seeing, image-making processes, and modes of display. The first mid-career survey dedicated to Deschenes&rsquo;s work, this exhibition will feature 20 years of her art, including explorations of various photographic technologies, rich and nuanced work with&nbsp;photograms (a type of photographic image made without a camera), and sculptural installations that&nbsp;reflect the movements and light within a given space and respond to a site&rsquo;s unique features.</p> </div> </div> </div> <div class="field field-name-field-notes field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p class="small" style="text-align: justify;">Organized by Eva Respini, Barbara Lee Chief Curator, with Jessica Hong, Curatorial Assistant.<br /><br />Support for&nbsp;<em>Liz Deschenes</em>&nbsp;is generously provided by&nbsp;Edward Berman and Kathleen McDonough, Robert and Jane Burke, Fotene Demoulas and Tom Cot&eacute;, Bridgitt and Bruce Evans, James and Audrey Foster, Ted Pappendick and Erica Gervais Pappendick, David and Leslie Puth, Mark and Marie Schwartz, and the Residence Inn.</p> </div> </div> </div> Sun, 26 Jun 2016 16:07:23 +0000 Judy Ledgerwood, Kyung-Lim Lee, Harriet Korman, Brigitte Kowanz, Clare Goodwin - Häusler Contemporary Zürich - May 12th - July 22nd <p style="text-align: justify;"><em>&raquo;Ich m&ouml;chte die festen Grenzen auswischen, die wir Menschen mit einer eigensinnigen Sicherheit um alles, was in unseren Bereich kam, gezogen haben.&laquo;</em><br /> <em>Hannah H&ouml;ch, 1929</em></p> <p style="text-align: justify;">In the context of the 2016 Zurich Dada anniversary, our g roup show unites women artists from our program and selected guests to honor the female protagonists of the Dada movement. Their innovative approaches paved the way for the equality of women artists who, until this day, provide art with decisive impulses i n the range between&nbsp; gesture and geometry.</p> <p style="text-align: justify;">Today, women artists such as Brigitte Kowanz or Judy Ledgerwood are a natural part of the international art scene alongside their male colleagues. However, in 1916, when Dada came to live in Zurich and gradually sp read all over the globe, it was a novelty that women like Sophie Taeuber - Arp, Sonia Delaunay, Elsa von Freytag - Loringhoven and Hannah H&ouml;ch became recognized members of the early avant - garde.</p> <p style="text-align: justify;">Our exhibition intends to respectfully salute women artists of&nbsp; that time. Furthermore, the selection of&nbsp; five different positions already reveals the variety of artistic expression that keeps on seeking new ways between gestural and geometric abstraction&nbsp; &ndash; the &laquo;classical&raquo; poles of modern art &ndash; and still finds new and su rprising solutions. With the strong colors of Judy Ledgerwood and Harriet Korman, the radiance of Brigitte Kowanz&rsquo; coded works, the masterfully nuanced drawings by Kyung - Lim Lee or the joining of gesture and geometry in Clare Goodwin&rsquo;s paintings, our exhib ition is a truly festive homage to the female Dada pioneers.</p> <p style="text-align: justify;">Deborah Keller , H&auml;usler Contemporary</p> <hr /> <p style="text-align: justify;"><em>&raquo;Ich m&ouml;chte die festen Grenzen auswischen, die wir Menschen mit einer eigensinnigen Sicherheit um alles, was in unseren Bereich kam, gezogen haben.&laquo;</em><br /> <em>Hannah H&ouml;ch, 1929</em></p> <p style="text-align: justify;">Mit einer Gruppenausstellung von K&uuml;nstlerinnen aus unserem Programm und ausgew&auml;hlten G&auml;sten w&uuml;rdigen wir im Zuge des Dada-Jubil&auml;ums den wichtigen Beitrag von Protagonistinnen jener Kunststr&ouml;mung. Ihre innovativen Ans&auml;tze haben den Weg geebnet f&uuml;r die Wahrnehmung und Gleichstellung von K&uuml;nstlerinnen, die der Kunst bis heute entscheidende Impulse zwischen Gestik und Geometrie liefern.</p> Sat, 25 Jun 2016 15:32:51 +0000 Naia del Castillo, Elssie Ansareo, Maider Lopez, Jorge Rubio, Manu Muniategiandikoetxea, Ainhoa Ortells - Guggenheim Museum Bilbao - June 14th - September 18th <p style="text-align: justify;">The whole year&rsquo;s work ends with an exhibition at the Guggenheim Museum Bilbao, to take place this year from 14 June to 18 September 2016. The two floors of the Museum&rsquo;s educational space surprise the visitor with works resulting from an unexpected combination of imagination, effort, fun and learning.</p> <p style="text-align: justify;">Before opening the exhibition to the public, there is an entertaining opening, attended by the students, their teachers, the artists, the sponsors and different people from the world of education. The news conference, held in the Auditorium, is attended by representatives of the BBK and the Museum, and by one of the artists participating in the program.</p> <p style="text-align: justify;">The exhibition project changes every year. This time round, it is split into two parts: on the one hand is the section entitled Art and Science, encompassing the projects related to the planet and the human body; and, on the other, the Storytelling section, referring to the passing of time, the past and fiction.</p> <p style="text-align: justify;">In depth:</p> <p style="text-align: justify;">Newsletter (<a href="" target="_blank">download pdf</a>)</p> <hr /> <p style="text-align: justify;"><strong>xposici&oacute;n anual</strong></p> <p style="text-align: justify;">El trabajo de todo el curso culmina con una exposici&oacute;n en el Museo Guggenheim Bilbao, que esta edici&oacute;n tiene lugar del 14 de junio al 18 de septiembre de 2016. Las dos plantas del espacio educativo del Museo sorprenden al visitante con obras que son fruto de una inesperada combinaci&oacute;n de imaginaci&oacute;n, esfuerzo, diversi&oacute;n y aprendizaje.</p> <p style="text-align: justify;">Antes de la apertura de esta muestra al p&uacute;blico, se celebra una divertida inauguraci&oacute;n, a la que asisten los escolares, sus profesores, los artistas, los patrocinadores y diversas personas del &aacute;mbito educativo. En la rueda de prensa, que se celebra en el Auditorio, intervienen representantes de la BBK y del Museo, as&iacute; como uno de los artistas que forman parte del programa.</p> <p style="text-align: justify;">El proyecto expositivo va cambiando cada a&ntilde;o. En esta edici&oacute;n, la muestra se ha dividido en dos partes: por un lado, se encuentra la secci&oacute;n titulada <em>Arte y ciencia</em>, donde se engloban los proyectos relacionados con los planetas y el cuerpo humano; y, por otro, la secci&oacute;n <em>Contando historias</em>, que hace referencia al paso del tiempo, al pasado y a la ficci&oacute;n.</p> <p style="text-align: justify;">A fondo:</p> <p style="text-align: justify;">Bolet&iacute;n (<a href="" target="_blank">descargar pdf</a>)</p> Sat, 25 Jun 2016 15:24:56 +0000 Eija-Liisa Ahtila - Guggenheim Museum Bilbao - May 12th - August 28th <div class="description"> <p style="text-align: justify;">Eija-Liisa Ahtila (b. 1959, H&auml;meenlinna, Finland) shot The Annunciation (Marian Ilmestys, 2010) on the snowy Aulanko Nature Reserve in southern Finland during the winter of 2010. The installation consists of three projections that reenact a well-known passage in the Gospel of Luke (1:26&ndash;38) that narrates one of the most important themes in Christian iconography, which is also the central motifs of some of the earliest paintings to successfully use perspective.</p> <p style="text-align: justify;">This contemporary Annunciation explores the nature of miracles and the possibilities of perception and knowledge. The work consists of material produced during the preparations for shooting and an actual reconstruction of the event of the Annunciation. There is a clear contrast between the interior scenes, made to look like an artist's studio&mdash;where the set of the Annunciation reenactment was built&mdash;and the nature outside.</p> <p style="text-align: justify;">The underlying viewpoint in the Annunciation is the Estonian biologist Jacob von Uexk&uuml;ll&rsquo;s&nbsp; (1864&ndash;1944) idea that the different worlds of living beings all exist simultaneously. The idea is used as the approach for an exploration of the nature of miracles and the possibilities of perception and knowledge. In the work, the actors are engaged in a process of reconstructing the sacred and redefining the human through the divine and the animal.</p> <p style="text-align: justify;">All human actors except for two are non-professionals. Most of them are clients of the Helsinki Deaconess Institute&rsquo;s women&rsquo;s support services. The animal actors are a trained raven, two ordinary donkeys and a group of carrier pigeons from a bird farm. Although based on an existing script, the events, roles and dialogue were adapted during the filming process to the actors&rsquo; individual presence.</p> <p style="text-align: justify;">The first part of the work is shot in a matter-of-fact documentary style with digital cameras. A diverse group of women prepare to stage the moment of the Annunciation representing the event when the Archangel Gabriel appears to Mary to tell her that she will be impregnated by God. Before the final scene we see the test flight of the Archangel and how the women discuss the various roles they have been assigned. The woman playing the part of Mary learns how to ride a donkey and what,&nbsp; according to the paintings, have been the different reactions of Mary when she meets the angel. In the final enactment of all their rehearsals, which is shot in 35mm film, the Angel glides across a beautiful garden and through a glass window into the real space of the actors &ndash; a moment of angelic intrusion into the ordinary world.</p> <p style="text-align: justify;">The piece ends with an idyllic image of the young woman cast in the role of the Virgin Mary&mdash;no longer garbed in the bright blue we associate with Renaissance Madonnas&mdash;accompanied by a donkey, while Townes Van Zandt's song &ldquo;No Place to Fall&rdquo; plays in the background.</p> <hr /> <div class="description"> <p style="text-align: justify;">Eija-Liisa Ahtila (H&auml;meenlinna, Finlandia, 1959) film&oacute; <em>La Anunciaci&oacute;n</em> (<em>Marian Ilmestys</em>, 2010) en el sur de Finlandia, en la Reserva Natural Aulanko, cubierta de nieve, en el invierno de 2010. La instalaci&oacute;n consta de tres proyecciones que recrean un pasaje muy conocido del Evangelio de san Lucas (Lc 1, 26&ndash;38), el que narra uno de los temas m&aacute;s importantes de la iconograf&iacute;a cristiana, motivo central de algunos de los primeros cuadros que usaron la perspectiva de forma satisfactoria.</p> <p style="text-align: justify;">Esta <em>Anunciaci&oacute;n</em> contempor&aacute;nea explora la naturaleza de los milagros y las posibilidades de la percepci&oacute;n y del conocimiento. La obra incluye material producido en los preparativos de la grabaci&oacute;n y una reconstrucci&oacute;n fiel del acontecimiento de la Anunciaci&oacute;n. Se observa un gran contraste entre las escenas de interior, que pretenden representar un estudio art&iacute;stico &mdash;en el que se construy&oacute; el decorado para la <em>Anunciaci&oacute;n</em>&mdash;, y la naturaleza del exterior.</p> <p style="text-align: justify;">El enfoque subyacente en <em>La Anunciaci&oacute;n</em> parte de la afirmaci&oacute;n del bi&oacute;logo estonio Jacob von Uexk&uuml;ll (1864&ndash;1944) de que los distintos mundos de los seres vivos coexisten simult&aacute;neamente. Esta idea se aplica a la exploraci&oacute;n de la naturaleza de los milagros y las posibilidades de la percepci&oacute;n y el conocimiento. En la obra, los actores est&aacute;n implicados en un proceso de recreaci&oacute;n de lo sagrado y de redefinici&oacute;n de lo humano a trav&eacute;s de lo divino y lo animal.</p> <p style="text-align: justify;">A excepci&oacute;n de dos de ellos, todos los actores humanos son <em>amateurs</em>. La mayor&iacute;a son clientes del servicio de ayuda a la mujer del Instituto Deaconess de Helsinki. Los actores animales son un cuervo amaestrado, dos burros y un grupo de palomas mensajeras de una granja av&iacute;cola. Aunque se basan en un gui&oacute;n previo, los hechos, los papeles y los di&aacute;logos se adaptaron durante el proceso de filmaci&oacute;n a la presencia individual de cada int&eacute;rprete.</p> <p style="text-align: justify;">La primera parte de la obra se grab&oacute; con un estilo documental, realista, con c&aacute;maras digitales. Un grupo heterog&eacute;neo de mujeres se prepara para recrear el momento de la Anunciaci&oacute;n, en el que el arc&aacute;ngel san Gabriel se aparece a Mar&iacute;a para decirle que va a ser fecundada por Dios. Antes de la escena final, vemos el vuelo de prueba del arc&aacute;ngel y el modo en que las mujeres hablan sobre los distintos papeles que les han dado. La mujer que encarna a Mar&iacute;a aprende a montar en burro y las distintas reacciones de la Virgen ante el encuentro con el &aacute;ngel que aparecen en los cuadros. En la recreaci&oacute;n final de todos los ensayos, grabada en pel&iacute;cula de 35 mm., el arc&aacute;ngel vuela sobre un jard&iacute;n maravilloso y atraviesa una ventana de cristal para penetrar en el espacio real de los actores, un momento de intromisi&oacute;n angelical en el mundo ordinario.</p> <p style="text-align: justify;">La obra finaliza con una imagen id&iacute;lica de la joven que interpreta el papel de Virgen Mar&iacute;a &mdash;que no lleva ya la vestimenta azul brillante que asociamos con las madonas renacentistas&mdash;, acompa&ntilde;ada de un burro, mientras suena de fondo &ldquo;No Place to Fall&rdquo;, de Townes Van Zandt.</p> </div> </div> Sat, 25 Jun 2016 15:19:38 +0000 Andy Warhol - Guggenheim Museum Bilbao - February 26th - October 2nd <div class="text-block"> <div class="text-block__content"> <p style="text-align: justify;">Andy Warhol, the chronicler of an era, was known for admitting his &ldquo;fondness for dull things,&rdquo; which by the early 1960s corresponded to his use of photographic reproductions of found imagery culled from newspapers, magazines, and image archives. In 1978, at age 50, Warhol embarked upon the production of a monumental body of work titled Shadows with the assistance of his entourage at the Factory. These 102 silkscreened canvas panels formalized earlier explorations with abstraction. To locate the radical implications of Warhol&rsquo;s Shadows, one must begin with the work&rsquo;s form: this series was conceived as one painting in multiple parts, the final number of canvases determined by the dimensions of an exhibition space. In the first exhibition 83 canvases were installed edge to edge, a foot from the floor, in the order that Warhol&rsquo;s assistants hung them.</p> </div> </div> <div class="text-block" style="text-align: justify;"> <div class="text-block__content"> <p>The 102 canvases, all of them on view at the Guggenheim Museum Bilbao, show Warhol&rsquo;s signature palette of bright hues with cheerful excess. The backgrounds of these canvases were painted with a sponge mop, the streaks and trails left by the mop adding &ldquo;gesture&rdquo; to the picture plane. Seven or eight different screens were used to create <em>Shadows</em>, as evidenced in the slight shifts in scales of dark areas as well as the arbitrary presence of spots of light. The &ldquo;shadows&rdquo; alternate between positive and negative imprints as they march along the wall of the gallery.</p> </div> </div> <div class="text-block" style="text-align: justify;"> <div class="text-block__content"> <p>Despite the apparent embrace of repetition, Warhol&rsquo;s &ldquo;machine method&rdquo; is nothing but handmade. A significant and intriguing fact about <em>Shadows</em> is the irreproducibility of its assumed reproduction, a point that problematizes his infamous aesthetic of &ldquo;plagiarism&rdquo; and positions Warhol&rsquo;s project as one that is primordially pictorial. Far from replicas, each <em>Shadow</em> corresponds to a form that reveals, with precision and self-awareness, its space, directing the viewer&rsquo;s gaze to light, the central subject of the series. In focusing on the shadow to devise light&mdash;that is to say, sparks of color&mdash;Warhol returns to the quintessential problem of art: perception.</p> <p><em>Andy Warhol: Shadows</em> is organized by Dia Art Foundation</p> </div> </div> <div class="text-block" style="text-align: justify;"> <div class="text-block__content"> <div class="text-block__quote-title"> <p><strong>New York Magazine</strong> 5 Feb 1979, Pags. 9-10</p> <p><strong>Painter Hangs Own Paintings<br />By Andy Warhol</strong></p> </div> <p>On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in Soho. Really it&rsquo;s one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort of the same except for the colors. I called them &ldquo;Shadows&rdquo; because they are based on a photo of a shadow in my office. It&rsquo;s a silk screen that I mop over with paint.</p> <p>I started working on them a few years ago. But I get the most done on weekends because during the week people keep coming by to talk.</p> <p>The painting(s) can't be bought. The Lone Start Foundation is presenting them and they own them.</p> <p>Someone asked me if I thought they were art and I say no. You see, the opening party had disco. I guess that makes them disco d&eacute;cor.</p> <p>This show will be like all the others. The reviews will be bad&mdash;my reviews always are. But the reviews of the party will be terrific.</p> </div> </div> <div class="text-block"> <div class="text-block__content"> <p style="text-align: justify;">I had the painting(s) hung at eye level. Any lower and people would kick them, especially at the party. The only problem with hanging the show was the gallery floor. One end of the gallery floor is one foot higher that the other.</p> <p style="text-align: justify;">But the kids helped me, and when we finished we all had lunch. I ate a pickle and drank some Evian and then some Perrier Jouet.</p> <p style="text-align: justify;">The gallery looked great. It&rsquo;s a simple, clean space. My Mao show was bigger, but this is the biggest show I&rsquo;ve had in New York City in a long time.</p> <p style="text-align: justify;">After we were finished, I took a walk with some friends. We stopped by at Ivan Karp&rsquo;s gallery, O.K. Harris. He told me that there are a lot people now doing shadows in art. I didn&rsquo;t know that.</p> <p style="text-align: justify;">Then we crossed the street and went in to Holly Solomon&rsquo;s Gallery. I always like to see if the art across the street is better than mine. &ldquo;</p> <hr /> <div class="text-block" style="text-align: justify;"> <div class="text-block__content"> <p>Andy Warhol, cronista de una &eacute;poca, era conocido por haber admitido que le gustaban &ldquo;las cosas aburridas&rdquo;, algo que a comienzos de los a&ntilde;os sesenta se relacionaba con la utilizaci&oacute;n de reproducciones fotogr&aacute;ficas de im&aacute;genes encontradas en peri&oacute;dicos, revistas y archivos de im&aacute;genes. En 1978, cuando contaba 50 a&ntilde;os, Warhol se embarc&oacute; en la producci&oacute;n de una obra monumental, titulada&nbsp;<em>Sombras</em>&nbsp;(<em>Shadows</em>), que realiz&oacute; con la ayuda de su entorno en la&nbsp;<em>Factory</em>. Estos 102 lienzos serigrafiados daban forma a exploraciones en torno a la abstracci&oacute;n que hab&iacute;a estudiado previamente. Para entender la radicalidad que implican las&nbsp;<em>Sombras</em>&nbsp;de Warhol, es necesario detenerse en primer lugar en el formato de la obra, concebida como una sola pintura en varias partes, cuyo n&uacute;mero definitivo queda determinado por las dimensiones del espacio en que se instala. La primera vez que se expuso, se mostraron 83 lienzos, que se colocaron muy cerca del suelo &mdash;a unos 30 cm&mdash;, muy pr&oacute;ximos unos a otros y en el orden decidido por los asistentes del artista.</p> </div> </div> <div class="text-block" style="text-align: justify;"> <div class="text-block__content"> <p>En el Museo Guggenheim Bilbao se pueden ver los 102 lienzos que componen la obra, en los que se revela la caracter&iacute;stica paleta warholiana, alegre en extremo y de tonos brillantes. El fondo de cada lienzo est&aacute; pintado con una mopa de esponja, cuyos rastros y manchas aportan &ldquo;gestualidad&rdquo; al plano pict&oacute;rico. Las&nbsp;<em>Sombras</em>&nbsp;fueron creadas utilizando siete u ocho pantallas, como evidencian las leves diferencias de escala de las zonas oscuras y la presencia de puntos de luz aleatorios. A lo largo de las paredes de la sala se alternan el positivo y el negativo de las &ldquo;sombras&rdquo;.</p> </div> </div> <div class="text-block" style="text-align: justify;"> <div class="text-block__content"> <p>A pesar de su apariencia repetitiva, el &ldquo;m&eacute;todo mec&aacute;nico&rdquo; de Warhol es, en realidad, totalmente manual. Un hecho importante e interesante de las&nbsp;<em>Sombras</em>&nbsp;es la irreproductibilidad de su supuesta reproducci&oacute;n, un tema que pone en tela de juicio la est&eacute;tica del &ldquo;plagio&rdquo; de Warhol y define su proyecto como fundamentalmente pict&oacute;rico. Lejos de ser una r&eacute;plica, cada&nbsp;<em>Sombra</em>&nbsp;se corresponde con una forma que revela su espacio con precisi&oacute;n y rotundidad, dirigiendo la mirada del observador hacia la luz, que es el tema central de la serie. Al concentrarse en la sombra para concebir la luz (estallidos de color), Warhol regresa al problema fundamental del arte: la percepci&oacute;n.</p> </div> </div> <div class="text-block" style="text-align: justify;"> <div class="text-block__content"> <div class="text-block__quote-title"> <p><strong>New York Magazine</strong>, 5 de febrero, 1979, p&aacute;gs. 9&ndash;10.</p> <p><strong>El Pintor Cuelga sus Propios Cuadros<br />Por Andy Warhol</strong></p> </div> <p>El martes colgu&eacute; mi(s) pintura(s) en la galer&iacute;a que Heiner Friedrich tiene en el Soho. En realidad, es una sola pintura en 83 partes. Cada parte tiene un tama&ntilde;o de 132,1 por 193 cm y todas ellas son similares, excepto en el color. Las he titulado &ldquo;Shadows&rdquo; (Sombras) porque est&aacute;n basadas en la fotograf&iacute;a de una sombra en mi oficina. Es una serigraf&iacute;a sobre la que paso una mopa con pintura.</p> <p>Comenc&eacute; a trabajar en ellas hace algunos a&ntilde;os. Pero cuando m&aacute;s trabajo es durante los fines de semana, porque entre semana suele venir gente a charlar un rato.</p> <p>La(s) pintura(s) no est&aacute;n en venta. La Lone Start Foundation las va a exponer y es la propietaria.</p> <p>Alguien me pregunt&oacute; si pensaba que eran arte, y yo respond&iacute; que no. En la fiesta de inauguraci&oacute;n se celebr&oacute; una fiesta disco. Por eso, creo que podr&iacute;an considerarse &ldquo;decoraci&oacute;n disco&rdquo;.</p> <p>Esta exposici&oacute;n ser&aacute; como las dem&aacute;s. Las cr&iacute;ticas ser&aacute;n malas, las cr&iacute;ticas que me hacen siempre lo son. Pero las cr&iacute;ticas de la fiesta ser&aacute;n excelentes.</p> </div> </div> <div class="text-block"> <div class="text-block__content"> <p style="text-align: justify;">Hice colgar las(s) pintura(s) a la altura de la vista. M&aacute;s abajo, la gente les habr&iacute;a dado patadas, sobre todo en la fiesta. El &uacute;nico problema que surgi&oacute; durante el montaje tuvo que ver con el suelo de la galer&iacute;a. Un extremo de la galer&iacute;a es 30 cm m&aacute;s alto que el otro.</p> <p style="text-align: justify;">Pero los chicos me ayudaron y, cuando acabamos, nos fuimos a almorzar. Yo com&iacute; pepinillos en vinagre y beb&iacute; agua Evian para empezar; luego, Perrier Jouet.</p> <p style="text-align: justify;">La galer&iacute;a estaba preciosa. Es un espacio sencillo, limpio. Mi muestra de Mao fue m&aacute;s amplia, pero esta es la mayor exposici&oacute;n que he hecho en Nueva York en muchos a&ntilde;os.</p> <p style="text-align: justify;">Cuando terminamos, di un paseo con algunos amigos. Nos detuvimos en la galer&iacute;a de Ivan Karp, O.K. Harris. Me dijo que hay mucha gente haciendo ahora sombras en el mundo del arte. No lo sab&iacute;a.</p> <p style="text-align: justify;">Luego, cruzamos la calle y entramos en la galer&iacute;a de Holly Solomon. Siempre me gusta comprobar si el arte que se expone en la acera de enfrente es mejor que el m&iacute;o&rdquo;.</p> </div> </div> </div> </div> Sat, 25 Jun 2016 15:15:34 +0000 - Guggenheim Museum Bilbao - April 22nd - October 23rd <p style="text-align: justify;">In the early 20th century, Paris was the capital of the avant-garde. Artists from around the world settled in the City of Light, where they created new forms of art and literature and responded to the rapid economic, social, and technological developments that were fundamentally transforming urban life. Paris was where Pablo Picasso and Georges Braque radically overturned the conventions of painting, Robert Delaunay composed visions of harmonious color, Vasily Kandinsky pursued new directions in abstraction, and Constantin Brancusi reimagined how sculptures could be present in space.</p> <p style="text-align: justify;">Bringing together masterpieces from the Solomon R. Guggenheim Museum collection, <em>Windows on the City</em>, curated by Lauren Hinkson, Assistant Curator for Collections, offers a vibrant glimpse of a historic creative outpouring and includes some of the past century&rsquo;s most important paintings and sculptures, works that remain influential today. The exhibition, which spans the first years of the 20th century through World War II, charts key movements of modernism&mdash;from Cubism to Orphism to Surrealism&mdash;and the artists who came to be known as the <em>&Eacute;cole de Paris</em> (<em>School of Paris</em>). Though diverse, the artistic visions represented manifest a common impulse to eschew conservative aesthetics and transform perceptions of everyday life in a modern city.</p> <hr /> <p style="text-align: justify;">A comienzos del siglo XX, Par&iacute;s era la capital de la vanguardia. Artistas llegados de todo el mundo se asentaron en la Ciudad de la Luz, donde crearon nuevas formas de arte y literatura, y reaccionaron ante el r&aacute;pido desarrollo econ&oacute;mico, social y tecnol&oacute;gico que estaba cambiando profundamente la vida urbana. Fue en Par&iacute;s donde Picasso y Georges Braque transformaron radicalmente las convenciones de la pintura, Robert Delaunay cre&oacute; sus armoniosas composiciones de color, Vasily Kandinsky abri&oacute; nuevos caminos en la abstracci&oacute;n y Constantin Brancusi reinvent&oacute; el modo de presentar la escultura en el espacio. La exposici&oacute;n <em>Panoramas de la ciudad</em>, comisariada por Lauren Hikson, Curator Adjunta de Colecciones del Solomon R. Guggenheim Museum, re&uacute;ne una selecci&oacute;n de obras maestras de sus fondos, ofreciendo un recorrido apasionante por este momento de efusi&oacute;n creativa, a trav&eacute;s de algunas de las pinturas y esculturas m&aacute;s importantes del siglo pasado, que contin&uacute;an ejerciendo su influencia en el arte actual. Abarcando un per&iacute;odo comprendido entre los comienzos del siglo XX y la Segunda Guerra Mundial, la muestra se centra en los movimientos fundamentales del arte moderno &mdash;desde el Cubismo hasta el Orfismo y el Surrealismo&mdash; y en los artistas englobados en la Escuela de Par&iacute;s (<em>&Eacute;cole de Paris</em>). Las diversas visiones art&iacute;sticas que presenta la muestra manifiestan el impulso com&uacute;n de romper con est&eacute;ticas conservadoras y transformar la percepci&oacute;n de la vida cotidiana en la ciudad moderna.</p> Sat, 25 Jun 2016 15:09:40 +0000 - Grounds For Sculpture - October 22nd - December 4th <p style="text-align: justify;">An annual event at Grounds For Sculpture, this year&rsquo;s Members&rsquo; Musings will be the seventh exhibition exclusively featuring artwork by members of Grounds For Sculpture.&nbsp; In addition to supporting the arts, many GFS members are gifted artists themselves.&nbsp; This exhibition showcases the diversity of the organization&rsquo;s membership through their varied artistic creations and unique inspirations.</p> Sat, 25 Jun 2016 15:01:38 +0000 - Grounds For Sculpture - August 13th - October 2nd <p style="text-align: justify;">This exhibition features powerful works on paper created at workshops organized by Combat Paper NJ, an organization which helps veterans express their complex experiences through art-making and the language of papermaking. Combat Paper NJ&rsquo;s goal is to build and strengthen the veteran and non-veteran community by changing the culture of the &ldquo;silent veteran,&rdquo; transforming the veteran into a storyteller, the non-veteran into a witness.</p> Sat, 25 Jun 2016 15:01:07 +0000 - Grounds For Sculpture - May 20th - July 10th <p style="text-align: justify;">This spring, as part of The Big Read, Grounds For Sculpture and the Hamilton Township Public Schools partnered to engage students in a project that brought literature and the visual arts together. Working with artist Karina Raude, students spent time discussing Luis Alberto Urrea&rsquo;s <em>Into the Beautiful North</em>, learning about the history of Latin American muralism, and creating a mural exploring themes including identity, family, and community.</p> <p style="text-align: justify;">Esta primavera,&nbsp; como un proyecto parte de The Big Read, fundado por el National Endowment for the Arts y centralizado en el libro Rumbo al Hermoso Norte por Luis Alberto Urrea, Grounds for Sculpture y las Escuelas Publicas de Hamilton se juntaron para involucrar a estudiantes en un proyecto que ajunto a la literatura con los artes visuales. Trabajando con la artista Karina Raude, los estudiantes pasaron tiempo hablando sobre el libro, aprendiendo la historia del muralismo latinoamericano, y creando un mural que explora temas incluyendo identidad, familia y comunidad.</p> <p style="text-align: justify;">To explore all programs taking place in conjunction with <strong>The Big Read</strong>, <a href=";category_id=0" target="_blank"><span style="text-decoration: underline;">please click here</span></a>.</p> Sat, 25 Jun 2016 14:58:36 +0000 Boaz Vaadia - Grounds For Sculpture - May 1st - September 18th <p style="text-align: justify;">Boaz Vaadia arrived in Soho in the excitement of the 1970&rsquo;s.&nbsp; Artists were building their loft studios and the galleries that would eventually show their work became plentiful over time.&nbsp; The international boutiques and design stores had not yet arrived. Trucks hit the big potholes on the overburdened cross streets with a loud bang.&nbsp; New York City was on the verge of bankruptcy.&nbsp; Vaadia found a place to live and work and, like many artists, raided dumpsters for his material.</p> <p style="text-align: justify;">Boaz&rsquo;s early exhibitions consisted of works made primarily from the materials he found.&nbsp; He transformed such finds into distinctive artworks comprised of wood, bone, hair and other mixed mediums ritualistic in manner and resembling highly personal ex-votos.&nbsp; He assembled sculptures made of branches stripped of the bark and bound together with rope or leather.&nbsp; In some of these works, he found resourceful ways to suspend a large stone serving as an integral compositional element.&nbsp; He used the weight of the stone to provide the necessary gravitational force that would allow the piece to stand.&nbsp; Recognizing the physical truths revealed in the process of making this body of work, Vaadia moved towards deeper explorations of three-dimensional concepts and focused on his interest in structure, balance and gravity.</p> <p style="text-align: justify;"><strong><em>Boaz Vaadia: Sculpture</em></strong>celebrates the art of Boaz Vaadia and his important contribution to the advancement of sculpture over a long and prolific career.&nbsp; All stages of the artist&rsquo;s work since the 1970s appears in this extensive exhibition, which includes over 125 of his pieces installed in two major buildings.&nbsp; The exhibition as a whole amplifies the critical understanding of Vaadia&rsquo;s career, and coincidentally, traces a pathway from abstraction to figuration.&nbsp; However, neither was ever the main point. The limitations he imposed upon himself instead concerned natural forces of gravity and balance; a reliance on natural materials even after they had become part of a cityscape; and, a sense of offering - of veneration.&nbsp;&nbsp; Seven of his bronze sculptures are on view outdoors in the beautiful gardened landscape of Grounds For Sculpture. The exhibition includes many of the artist&rsquo;s earliest works as well as large as well as his large bluestone sculptures and bronzes Vaadia casts from them. &nbsp;On view along with the large bronze and stone sculptures are intimate groupings of his smaller works made of multiple strata of roofing slate mounted atop wooden pedestals Vaadia made out of huge beams he found.&nbsp; Early examples of work, including some created in his birth country of Israel, reveal the important first steps he took, leading to the vast crescendo of works on view these many years later. In Vaadia&rsquo;s relentless advancement of his art, the exhibition debuts four of his new bas-relief sculptures in slate, signaling an exciting new development in his oeuvre.&nbsp;</p> <p style="text-align: justify;">The story of Boaz Vaadia&rsquo;s journey into art is as rich in texture and depth as his sculptures.&nbsp; He was born in a small village in Israel.&nbsp; His father was a farmer who worked the fields of the family farm.&nbsp; From the time he was a boy, Vaadia did chores on the farm and dreamt about art.&nbsp; In time, he would travel by bus alone to attend art classes in a town some distance away from home and return before dark.&nbsp; He became familiar with the incredible ancient treasures of his homeland including architecture and sculpture.&nbsp; He eventually worked on the restoration of some of these structures during breaks while serving in the army.&nbsp; Vaadia&rsquo;s memories of his early years in Israel form a strong personal identity about his origins and the connection of his art to his roots and his love and respect of nature.</p> <p style="text-align: justify;">Having exhibited the series of his early fetishistic works during his first years in New York, Vaadia began working with bulky rectangular slabs of bluestone and slimmer pieces of discarded slate roofing tiles that he rescued by the dozens from the dumpsters in SoHo.&nbsp; To Boaz, finding such a cache of usable stone was at once triumphant and prophetic.&nbsp; Once he undertook developing the sculptural approach he would use, he realized that working with such sedimentary materials linked him personally and spiritually back to the earth. Not long after this, the debut of his distinctive figurative work in stacked stone was on view at Ivan Karp&rsquo;s SoHo gallery.&nbsp; Vaadia never looked back.&nbsp;</p> <p style="text-align: justify;">From the mid-1980s and over the past three decades, Vaadia has been fixated on harnessing the natural forces of balance and gravity explored in his earlier works into new sculptural works depicting the human figure.&nbsp; Even though using the figure as a subject in his work had been of interest to him for some time, Vaadia seized it as a subject in the next phase of his work to highlight the true source of his inspiration and focus, the material.&nbsp; His concept centers on stacking thick, quarried bluestone slabs in carefully planned and organized renditions of the figure constructed in such a way that the force of gravity is in harmony with the balanced layers forming the composition.&nbsp; When complete, the apparition of the figure consists of an intricate myriad of stone layers that stand in harmonious respect for the natural formation of the ancient sedimentary stone he uses.&nbsp; The same intent carries through Vaadia&rsquo;s multitude of smaller sculptures executed in slate.&nbsp; In all of his stone layered works,&nbsp; Vaadia still meticulously hand-carves the perimeter edge of each piece bringing final form to the work using a technique so specific to his eye that he alone does the carving.</p> <p style="text-align: justify;">Vaadia often incorporates large glacial boulders in his compositions.&nbsp; Many of these works contain groupings of figures making the overall composition of each piece enormously heavy.&nbsp; The origins of how he came to use such large stones dates back to when he purchased a building in Williamsburg which now serves as his studio.&nbsp; Arriving there one day, he found the entire street dug up for a large city sewer project.&nbsp; Recognizing yet another twist of fate in his favor, Vaadia was able to secure and stockpile large amounts of the glacier boulders for use in his works.</p> <p style="text-align: justify;">Boaz Vaadia has created a body of work that is distinctive in the continuum of sculpture.&nbsp; The exhibition stands as evidence of Vaadia&rsquo;s powerful will to achieve mastery in harnessing natural materials within a personally defined and meticulously focused genesis of form.&nbsp;&nbsp; By using both an additive and subtractive process in stone, he has created sculptures that connect deeply felt natural processes that he recognizes in nature.&nbsp; The definitive collection of the works in the exhibition is a profound testimony to Vaadia&rsquo;s artistry and his connection with the earth and the human condition.</p> Sat, 25 Jun 2016 14:57:14 +0000 Nikki Rosato - Grounds For Sculpture - May 1st - September 18th <div> <p style="text-align: justify;">Treating the small lower level gallery annex as an installation site, Nikki Rosato will fill this room with her figurative works cut from road maps.&nbsp; Rosato cuts away all the land masses from the maps, leaving linear forms created from the leftover roads and waterways.&nbsp; The lines of the map are a metaphor for&nbsp; personal journey.&nbsp;</p> <p style="text-align: justify;"><em>&ldquo;</em><em>As we move though life, the places we inhabit and the people that we meet alter and shape us into the person that we are in the present day. I am interested in the idea that a place I visited as a child has affected the outcome of the person that I am today.&rdquo;&nbsp; Nikki Rosato</em></p> <p style="text-align: justify;">This exhibition will highlight the exaggerated lines of Rosato&rsquo;s work by playing with light and shadow and will also focus on her use of volumetric negative space, which forms a spatial counterpoint to the solidity of Ayami Aoyama&rsquo;s work displayed in the adjacent gallery. &nbsp;</p> </div> Sat, 25 Jun 2016 14:55:13 +0000