ArtSlant - Recently added en-us 40 Alex Katz - The Colby College Museum of Art - July 1st - June 7th, 2015 <p>This installation features a rotating selection of artwork by Alex Katz (b. 1927). Among the most recent acquisitions on view is a double aluminum cutout entitled&nbsp;<em>Juan and Choichun&nbsp;</em>from 2013. Also displayed is an array of portraits that Katz produced in the 1950s depicting fellow artist Bernard Langlais, the subject of the adjacent retrospective.&nbsp;</p> Tue, 22 Jul 2014 11:01:25 +0000 Group Show - The Colby College Museum of Art - July 19th - July 15th, 2015 <p>This summer the Museum will re-install its permanent collection galleries, integrating works from the recently gifted Lunder Collection with the Museum's core holdings, including recent gifts from the Alex Katz Foundation, and select loans. Supported by the Henry Luce Foundation, this display will reflect the Museum's ongoing commitment to a deep representation of American art from the nineteenth century through the present.</p> <p>Highlights will include David Smith's steel&nbsp;<em>Voltri Bolton II</em>&nbsp;(1962), Maya Lin's monumental marble sculpture&nbsp;<em>Disappearing Bodies of Water</em>&nbsp;(2013), a meter box by Donald Judd (1977), and Robert Mangold's 18 acrylic and pencil drawings (1991) given by the Alex Katz Foundation. Cherished cornerstones of the collection, such as Albert Bierstadt's&nbsp;<em>View of Chimney Rock</em>&nbsp;(1860) and Winslow Homer's&nbsp;<em>The Trapper</em>&nbsp;(1870) will be featured, as well as recently acquired works by Jacob Lawrence, Helen Torr, Frederic Edwin Church, William Matthew Prior, and Joshua Johnson.</p> <p>&nbsp;</p> Tue, 22 Jul 2014 10:58:16 +0000 Lois Dodd - The Colby College Museum of Art - June 7th - August 31st <p>In 2010 the Colby College Museum of Art received more than seventy works on paper spanning from the 1960s to the early 2000s by post-war American figurative artist Lois Dodd. For the first time, the drawings, watercolors, and prints of this extraordinary gift will be accessible to the public, providing visitors the opportunity to experience Dodd's work through mediums other than the oil painting for which she is best known. Three main themes will be featured: the body, the&nbsp;landscape, and the cityscape. The delicate and the massive meet in these drawings, and Dodd's formal approach to the architecture of figures, buildings, and natural forms offers viewers a meditation on monumentality, ephemera, and the lived human experience.</p> Tue, 22 Jul 2014 10:52:39 +0000 Bernard Langlais - The Colby College Museum of Art - July 19th - January 4th, 2015 <p>Known for his monumental wall reliefs and sculptures of animals from the 1970s, Maine-born artist Bernard Langlais (1921&ndash;1977) produced a rich and diverse oeuvre in his 56 years. From modernist painter to visionary environment builder, Langlais created art driven by a deep sense of place, and an unrelenting search for materials and subjects that reconciled his rural roots with postwar artistic movements and ideologies. In celebration of an extraordinary bequest by the artist's widow, Helen Friend Langlais, of her estate to Colby College in 2010, the Colby College Museum of Art will present the first scholarly retrospective of Langlais's dynamic career. The exhibition is drawn primarily from the Museum's Bernard Langlais Collection and also presents loans from several local museums and private collections, a testament to Maine's deep holdings in the art of this native son.</p> <p>The exhibition will be accompanied by a richly illustrated&nbsp;monograph&nbsp;with essays&nbsp;by Hannah W. Blunt, Diana Tuite, Vincent Katz, and Leslie Umberger.</p> Tue, 22 Jul 2014 10:49:53 +0000 Julian Röder, Robert Capa - Kunsthalle Erfurt - July 18th - September 28th <p class="bodytext">Die Kunsthalle Erfurt pr&auml;sentiert eine Doppelschau von Julian R&ouml;der und Robert Capa im Rahmen des Ausstellungsformates "CC - Classic Contemporary". Dabei wird jeweils eine klassische mit einer zeitgen&ouml;ssischen Position der Fotografie kombiniert. Den inhaltlichen Ansatz der Ausstellung von Capa und R&ouml;der bilden sozial-politische Transformationsprozesse und besonders "Konflikt und Krieg" als deren Katalysatoren oder Folgen. Die Serie&nbsp;<em>Summits</em>&nbsp;(2001-2008) des j&uuml;ngeren Fotografen z&auml;hlt zu den bekanntesten Aufnahmen der G8-Gipfel jenseits der massenmedial verbreiteten Bilder. R&ouml;ders "documentary style" ist trotz seiner real vorgefundenen Motive und Sujets nicht frei von Konzept, Inszenierung und Komposition. Somit entziehen sich diese&nbsp; Bilder jeder eindeutigen Aussage oder gar Wertung ihrer Gegenst&auml;nde, was sie gerade als Fotografien interessant erscheinen l&auml;sst. Die Erfurter Doppelausstellung ist gleichzeitig die erste gr&ouml;&szlig;ere Werkschau des jungen K&uuml;nstlers (geb. 1981 in Erfurt) und umfasst weitere Fotoserien wie die neueste<em>Mission and Task</em>.</p> <p class="bodytext">Auch Magnum-Mitbegr&uuml;nder und Fotolegende Robert Capa (1913-1954) hat sich f&uuml;r die politischen und milit&auml;rischen Auseinandersetzungen seiner Mitmenschen interessiert. Seine mittlerweile auratischen Schwarz-Wei&szlig;-Bilder belegen nicht nur die sprichw&ouml;rtlich gewordene N&auml;he des Kriegsreportes zum Bildgeschehen oder faszinieren durch den "richtigen", bisweilen spektakul&auml;ren Moment. Sie zeigen auch, dass der charismatische Fotograf hinsichtlich seiner Bildsprache von Stil und Propaganda der (russischen) Avantgardekunst gepr&auml;gt war. Capas Arbeiten hat Julian R&ouml;der f&uuml;r diese einmalige Zusammenschau gemeinsam mit der Kuratorin Silke Opitz ausgew&auml;hlt.</p> Tue, 22 Jul 2014 10:04:50 +0000 - Staatsgalerie Stuttgart - July 25th - October 19th <p>In the 1920s, the departure from naturalistic representation and the search for new forms of expression led to an extremely productive phase for the development of photography. While artists such as Man Ray, Laszlo Moholy-Nagy and Anton Stankowski experimented in their photograms with various lighting effects, the photographs of Jaromir Funke, Alfred Ehrhardt and others are appealing by virtue of their extreme close-up views and the plays of light and shade that come about in the process. Taking these early works as its point of departure, the exhibition presents selected examples from the holdings of the museum&rsquo;s own collection to provide insights into this practice of &ldquo;painting with light&rdquo; and an overview of its various modes of expression. The spectrum of works on view encompasses such phenomena as solar lines, the nocturnal trail of light left behind by the moon, or the spectacular thunderbolts over Walter de Maria&rsquo;s Lightning Field. Natural light, otherwise so fleeting, only reveals its full splendour when it is captured on photo paper.</p> Tue, 22 Jul 2014 08:44:43 +0000 Katharina Grosse - Staatsgalerie Stuttgart - May 25th - September 7th <p>In 2014 the Great State Prize for Fine Arts of the Federal State of Baden Wurttemberg is awarded for the first time under its new name:&nbsp;The Oskar-Schlemmer-Prize&nbsp;goes to internationally recognised contemporary artists with a connection to Baden Wurttemberg and entails a solo exhibition.</p> <p>The first winner of the Oskar Schlemmer Prize is the internationally renowned artist Katharina Grosse who is presenting two new works at the Staatsgalerie Stuttgart.</p> <p>For Katharina Grosse there are no limits to painting. Having started out in the tradition of colour-field painting, the artist has been expanding colour into space, architecture and landscape for more than two decades, defying material boundaries and taking the medium far beyond its traditional domain. Making colour manifest in space, she paints on a wide range of supports &ndash; floors and fa&ccedil;ades, balloons and mounds of soil, textiles and objects as well as on canvas and paper &ndash; in an equally wide range of techniques that include brushes, rollers and spray guns. Not bound by formal principles of figure and ground, her works explore questions of perception and scale. And despite the narrative titles of her installations and exhibitions, which suggest a longing for a conceptual world, her works dispense with symbols, references and documents. Instead Katharine Grosse allows colour to expand as autonomously as possible, thereby postulating the elementary conditions and potential of painting.</p> <p>Katharina Grosse,&nbsp;born in 1961 in Freiburg/Breisgau, lives and works in Berlin. She studied at the academies of M&uuml;nster and D&uuml;sseldorf. Before her appointment as professor of painting at the D&uuml;sseldorf Academy of Art in 2010 she taught at the Berlin Weissensee School of Art. Internationally recognised, the artist regularly takes part in prestigious group exhibitions and biennials, for example in S&atilde;o Paulo and Sydney, and has been honoured with important solo exhibitions by numerous leading institutions, among them the UCLA Hammer Museum in Los Angeles, the Palais de Tokyo in Paris, the Renaissance Society in Chicago, the Museu de Arte Contempor&acirc;nea de Serralves in Porto, the Kunstmuseum Bonn and the Nasher Sculpture Center in Dallas.</p> <p class="weit">The Public Art Fund is currently showing her first outdoor sculpture in front of the MetroTech Center in Brooklyn, New York. Works by Katharina Grosse can be found in public and private collections, among them the Centre Pompidou in Paris, the Museum of Modern Art in New York, the Kunsthaus Z&uuml;rich and the Kunstsammlung Nordrhein-Westfalen in D&uuml;sseldorf.</p> Tue, 22 Jul 2014 08:39:53 +0000 - Staatsgalerie Stuttgart - July 18th - October 26th <p>The Staatsgalerie Stuttgart and the Staatliche Schl&ouml;sser und G&auml;rten<br />Baden-W&uuml;rttemberg (the W&uuml;rttemberg state heritage agency) mark the 150th anniversary of the death of King Wilhelm I of W&uuml;rttemberg with an exhibition that sheds light on the monarch&rsquo;s remarkable support of the arts. Presenting more than a hundred works, the exhibition reunites important pieces from Wilhelm&rsquo;s public and private collections.</p> <p>The exhibition is held under the auspices of H. R. H. Carl, Duke of W&uuml;rttemberg.</p> Tue, 22 Jul 2014 08:37:11 +0000 Georg Baselitz - De Pont Museum of Contemporary Art - June 21st - June 21st, 2015 <p>'They're waving, shouting and hanging, sometimes falling out the window. The background is mostly dark; you can't see what's behind the figures. These are women at windows, each isolated from her environment and not communicating with the others.' This is how the German artist Georg Baselitz (1938) described his&nbsp;<em>Stra&szlig;enbild</em>, a monumental work made up of eighteen paintings, which he finished in 1980. A year later the series was exhibited at the Stedelijk Museum in Amsterdam, and in 1989 the work was acquired by the new Kunstmuseum Bonn. That was the same year in which De Pont was founded, and the purchase of this work was also discussed here at that time. Now, twenty-five years later,&nbsp;<em>Stra&szlig;enbild</em>&nbsp;is coming to Tilburg as part of a temporary exchange between the collections of the Kunstmuseum and De Pont. In return De Pont will be sending two&nbsp;<em>Gro&szlig;e Geister</em>,<em>&nbsp;</em>by Thomas Sch&uuml;tte, to Bonn for one year. Although this is certainly a sacrifice &ndash; as will be the lack of access to Richard Serra's&nbsp;<em>Gutter Splash Two Corner Cast</em>, which needs to be hidden behind one of the walls on which&nbsp;<em>Stra&szlig;enbild</em>&nbsp;will be shown &ndash; we will indeed have the chance to become acquainted with another masterpiece from the twentieth century.</p> Tue, 22 Jul 2014 08:33:06 +0000 - Irish Museum of Modern Art - August 1st - November 9th <p><em>Second Sight</em>&nbsp;is drawn from the exceptional collection of photography amassed by Dr David Kronn for the past twenty years, and which is a promised gift to IMMA. The David Kronn Collection comprises more than 550 photographs ranging in content from 19th-century Daguerreotypes; works by icons of modern photography such as Edward Weston and August Sander; as well as works by award-winning contemporary photographers such as Trine Sondergaard and Simon Norfolk. In 2011, IMMA staged the first exhibition from this collection.<em>Second Sight</em>&nbsp;marks the donation of 50 works to IMMA from the Kronn Collection, this donation will be shown alongside a display of work by contemporary international photographers from the IMMA Collection.</p> <p>A number of images of Ireland in the 1950s, 60s and 70s are represented in the IMMA Collection in works by Magnum photographers such as Abbas, Marc Riboud, Eve Arnold, Elliott Erwitt, Philip Jones Griffith and Inge Morath. Some of these will be integrated in the exhibition showing the affinities they share for instance with images of Irish life by Evelyn Hofer and Dorothea Lange from the Kronn Collection. In terms of contemporary photography, the themes, motivations, expressions and working practices that occur among artists in the IMMA Collection who use photography as their main medium or as part of their production such as Willie Doherty, Paul Seawright, Gerard Byrne, Amelia Stein or Perry Ogden for example, will be explored through juxtapositions with the Kronn Collection in ways that give rise to potential encounters and discourses. The selection of works will search for ideas in common irrespective of visual outcomes and in so doing how one collection can be folded into another.&nbsp;</p> <p>&nbsp;</p> Tue, 22 Jul 2014 08:02:37 +0000 Helio Oiticica - Irish Museum of Modern Art - July 19th - October 5th <p>IMMA presents a major exhibition of the work of the internationally renowned Brazilian artist H&eacute;lio Oiticica (1937&ndash;1980).&nbsp;<em>Propositions</em>&nbsp;will include a succinct selection of works by Oiticica, including vital examples from throughout his prolific career with a view to illuminating his art historical importance and relevance to contemporary practice.</p> <p>To mark the opening of the exhibition IMMA presents&nbsp;<strong>SUMMER RISING: The IMMA Festival</strong>&nbsp;running from Friday 18 (opening night of the exhibition) to Saturday 26 July. H&eacute;lio Oiticica proposed with his work ways &lsquo;of giving the individual the possibility to &lsquo;experiment&rsquo;&nbsp; to no longer be the spectator and become the participant&rsquo;, and it is in this spirit that IMMA invites you to be part of the SUMMER RISING &ndash; to taste, to listen, to look , to enjoy and most of all to take part.&nbsp;<a href="" target="_blank"><br /></a></p> <p>Oiticica was as an innovator of interactive and experiential artworks whose work has influenced many of the key contemporary artists working today. Audiences will be encouraged to engage, explore and participate in this colourful exhibition - visitors can try on his wearable &lsquo;Parangol&eacute;s&rsquo; and enjoy the fun of dressing up as a mobile sculpture.</p> <p>The exhibition highlights Oiticica as an artist whose impulse to depart from the traditional conception of the artwork, with a constant urge for renewal and experimentation, was working significantly ahead of his time. A particular focus of this exhibition is the proposals and re-enactments laid out by Oiticica. Works will be displayed which illustrate the artist&rsquo;s driving conviction that colour and form should emancipate themselves from the surface into space and time, and that the integration of the viewer is intrinsic to the art experience.</p> <p>The exhibition at IMMA will expand upon previous exhibitions on Oiticica by investigating notions of the script and proposals, which the artist engaged with throughout his life, and in particular in his later works. Furthermore, emphasis will be placed on the potentialities at play within Oiticica&rsquo;s artworks, realms of possibility which the artist triggered through his spectator-activated installations, sculptures, paintings and wearable &ldquo;Parangol&eacute;s&rdquo;. Recognising Oiticica as an innovator of interactive and experiential artworks whose work has influenced many of the key contemporary artists working within the field of relational aesthetics, the exhibition will examine this impulse as it reverberates throughout his oeuvre and into the public realm.</p> <p>IMMA is delighted to be working in collaboration with the MA course Art in the Contemporary World, NCAD, to realise a selection of the written Propositions by Oiticica. These will be curated and enacted by students on Saturday 19 July in the gardens at IMMA, and will offer a unique opportunity to connect physically and conceptually with artworks.</p> <p>Opening the exhibition at IMMA will be an introductory section, Oiticica At IMMA, including a succinct selection of Irish and international artworks, chosen by the curators of the exhibition from the IMMA Collection. This key selection will hang at the entrance to the exhibition, as a compliment to and expansion on the works of Oiticica, chosen in particular to highlight the aspects of viewer interaction, vibrant colour usage and kinetic movement so key within his oeuvre.</p> <p>Recent solo exhibitions include&nbsp;<em>Suprasensorial: Experiments in Light, Colour and Space</em>, MoCA, Los Angeles, CA (2010);&nbsp;<em>Collecting a Poetic Universe,</em>&nbsp;Museum of Fine Arts, Houston TX (2007) and&nbsp;<em>H&eacute;lio Oiticica: The Body of Colour</em>, Tate Modern, London (2007). Oiticica&rsquo;s work has been included in the 2010, 1994, 1965 and 1957 S&atilde;o Paulo biennials. This exhibition is co-curated by C&eacute;sar Oiticica Filho, nephew of the artist.&nbsp;</p> <p>A publication will be produced to accompany the exhibition, and will include a selection of writings by H&eacute;lio Oiticica, some previously unpublished.</p> Tue, 22 Jul 2014 07:57:57 +0000 Becca Albee, Sonia Shiel, Nick Thurston, Albert Weis, David Horvitz, Antonia Low, Leung Mee-ping, Stéphanie Nava - Irish Museum of Modern Art - July 15th - August 24th <p>Merging the poetic, the historical, the hidden and the absurd,&nbsp;<em>Unseen Presence</em>&nbsp;is a group exhibition which chases concepts of time, repitition and suspense. The exhibition merges contemporary vision and ideals with an aim to imagine and re-call the past. Over the duration of the exhibition works may be shown which are incomplete and some might be removed to make way for new ideas.&nbsp;<em>Unseen Presence</em>&nbsp;supports various research and studio practices of recent and current arts practitioners participating on IMMA&rsquo;s Residency Programme and serves as a testing ground for developing projects at the Museum.</p> <p>Using Hilaire Hiler's 1939 Prismatarium as a starting point Becca Albee has adapted Hiler&rsquo;s use of a colour wheel set in contrast to grey bands on the walls.&nbsp;Originally created as a "ladies' lounge" in the Aquatic Park Bathhouse in San Francisco, it is currently a senior centre and maritime museum, hints of which are visible in the video. The grey mural will serve as a test site for the addition of other elements during the exhibition.</p> <p>David Horvitz has contributed,&nbsp;<em>How to exit a photograph,</em>&nbsp;a photographic triptych whose print quality files are openly downloadable and printable.&nbsp;IMMA&rsquo;s Blog features&nbsp;<em>Last Stop the Gravediggers: A dusk till dawn residency at IMMA</em>, an interview with Horvitz about his unique time at the museum.</p> <p>Antonia Low has photographed a window in the rambling hallways of the Palais des Beaux Arts in Bruxelles and printed the image as a voile. Hidden, forgotten and overlooked areas elude the customary lines of sight, permitting new possibilities as regards their use, purpose and charge.</p> <p><em>Moon Room</em>&nbsp;by Leung Mee-ping is a work about the artist&rsquo;s recollection of the first time she saw a Francis Bacon painting. Leung merged her personal memories and professional influences with new contexts which mirror the ambiguous spaces found in Bacons paintings.</p> <p>From a basis in drawing Stephanie Nava is concerned with relationships, engagements and encounters with the natural world. Her work is a montage at its core, assembling ideas as much as images or objects in an inherently narrative form, for Unseen Presence Nava will continue to bring her visual interpretation of IMMA&rsquo;s environment to commence a new visual narrative.</p> <p>Sonia Shiel&rsquo;s&nbsp;<em>Parse</em>&nbsp;is the story of a young girl determined to bring about the return of her mother from a trip to outer space, in accordance with the laws of jocular physics under which her world is ruled. Set in a cartoon-habitat, where things do fall slowly; space and distance are compressed; death is recoverable from and stars are souvenirs.</p> <p>Nick Thurston&rsquo;s pocketbook&nbsp;<em>Romantic Tragedy</em>&nbsp;is a potentially infinite epic. It treats the recto-verso cycle of the codex book like an ox-eye daisy. With one ink, one fold, one staple and the equivalent of one A4 sheet of cheap recycled paper, it plays out a classically romantic, first-person tragedy.</p> <p>Albert Weis&rsquo;&nbsp;<em>taped silver</em>&nbsp;is a folded sheet of paper attached to the external wall with aluminium tape. The tape hides the paper but also highlights the hidden folds of a spatial structure which refers to the dimensions of the adjacent doors of the museum. In&nbsp;<em>temps (hours)</em>&nbsp;the illusion of a normal clock is given, the hands turn in synchrony, but in the opposite direction. Past and future are reflected and hold the present in the balance.</p> Tue, 22 Jul 2014 07:52:31 +0000 Caroline McCarthy - Irish Museum of Modern Art - June 6th - December 31st <p>Caroline McCarthy&rsquo;s remarkable site-specific installation,&nbsp;<em>Group Coordination (Red),</em>2011 lends its title to an exhibition of works selected from the IMMA Collection by McCarthy in collaboration with IMMA. The exhibition includes three recent pieces on loan from the artist&rsquo;s studio.</p> <p>Caroline McCarthy has a long-standing relationship with IMMA, having been resident here on the studio programme in 1997, and whose works&nbsp;<em>Greetings</em>&nbsp;and<em>The Luncheon</em>&nbsp;are held in the IMMA Collection.</p> <p>McCarthy&rsquo;s work often refers to production and waste and uses art-historical tropes like the still life, as seen in&nbsp;<em>Group Coordination (Red),</em>&nbsp;2011 and&nbsp;<em>The Luncheon</em>&nbsp;&mdash;shown here at IMMA in a darkened space. The works cross disciplines, being at once a drawing and sculpture, or sculpture and lens-based image respectively. The politics and absurdity of objects are treated with acerbic wit &mdash; a mass-produced sculpture of an endangered species, as seen here in the red rubber rhino perched on a windowsill &mdash; or the wide spectrum of coloured toilet paper employed in&nbsp;<em>The Luncheon</em>.</p> <p>Pairing recent work from the artist&rsquo;s studio with work held in the IMMA Collection is a new strand of programming and continues throughout the current IMMA Collection exhibition, including recent works borrowed from Paul Winstanley and Mark O&rsquo;Kelly.</p> <p>IMMA is sincerely grateful to Caroline McCarthy for her open approach to this conversation with the IMMA Collection, and to her gallery, Green on Red, Dublin.&nbsp;</p> Tue, 22 Jul 2014 07:45:33 +0000 Group Show - Irish Museum of Modern Art - June 6th - December 31st <p><em>Conversations</em>&nbsp;is a selection of diverse displays from the IMMA Collection that present the idea of dialogue on a number of levels: among particular artists&rsquo; practices such as Andrew Vickery and Elinor Wiltshire; between &lsquo;then&rsquo; and &lsquo;now&rsquo; in artists&rsquo; work at different times in their career, as with Paul Winstanley and Mark O&rsquo;Kelly; and works that encourage exchange between the Collection, artists, their work and the viewer.</p> <p>Certain rooms focus on individual commemorative works such as the&nbsp;<em>The Great Wallenda (Cabinet Version),</em>&nbsp;1997-98 by Jo&atilde;o Penalva, and Sean Scully&rsquo;s&nbsp;<em>Dorothy,</em>&nbsp;2003, in memory of Dorothy Walker.</p> <p>Also exhibited is a selection of works co-curated by artist Caroline McCarthy, shown with works from McCarthy&rsquo;s own studio including&nbsp;<em>Group Coordination (Red),</em>&nbsp;2011, which she has reconfigured in response to the gallery architecture.</p> <p>Another strand of programming focuses on specific moments, events and individuals in the story of cultural production in Ireland, namely the contribution of David Hendriks to the development of art in Ireland during the 1960s and 70s, and the commitment and enthusiasm of George and Maura McClelland as collectors and promoters of Irish art.<br /><br />A&nbsp; selection of works by Brian Maguire, Guggi, Mary A. Kelly and Barrie Cooke exemplify how certain works are acquired for the IMMA Collection. Barrie Cooke&rsquo;s&nbsp;<em>Bone Boxes,</em>dating from the 1970s, and two more recent paintings, pay tribute to his recent passing.</p> Tue, 22 Jul 2014 07:39:50 +0000 - Visual Arts Center of New Jersey - July 18th - August 29th <p>This annual exhibition features the artwork of 145 of our talented artist members and will be on view in the Art Center's Main Gallery and Mitzi &amp; Warren Eisenberg Gallery from July 18 through August 29. This year's exhibition was judged by Kristen Evangelista, Director of University Galleries at William Paterson University, Wayne, NJ. Cash prizes will be awarded for Best in Show, Portraiture, Landscape, Ceramics, Pastel, Photography, Sculpture and Watercolor during the Opening Reception. <br /> <!--[if !supportLineBreakNewLine]--><br /> <!--[endif]--></p> Tue, 22 Jul 2014 07:31:10 +0000 Ignacio Bautista, Alejandro Bombín, Starsky Brines, Sebastián Camacho, Juan Carlos Martínez, Diego Vallejo - Galeria Fernando Pradilla - July 14th - August 29th <p>Durante los meses de julio y agosto, la&nbsp;<strong>galer&iacute;a Fernando Pradilla</strong>&nbsp;expone una selecci&oacute;n de obras recientes de seis j&oacute;venes artistas iberoamericanos. Bajo el t&iacute;tulo&nbsp;<em>&ldquo;Convergencias divergentes&rdquo;</em>&nbsp;se re&uacute;nen los trabajos de&nbsp;<strong>Ignacio Bautista</strong>&nbsp;<em>(Madrid, 1982)</em>,&nbsp;<strong>Alejandro Bomb&iacute;n</strong>&nbsp;<em>(Madrid, 1985)</em>,&nbsp;<strong>Starsky Brines</strong>&nbsp;<em>(Caracas, 1977)</em>,&nbsp;<strong>Sebasti&aacute;n Camacho</strong>&nbsp;<em>(Bogot&aacute;, 1982)</em>,&nbsp;<strong>Juan Carlos Mart&iacute;nez</strong>&nbsp;<em>(Campanario, 1978)</em>&nbsp;y&nbsp;<strong>Diego Vallejo</strong>&nbsp;<em>(Salamanca, 1986)</em>. Diversidad tem&aacute;tica, t&eacute;cnica y de soportes, caracteriza la selecci&oacute;n de obras realizada para esta muestra, cuyos autores reflexionan sobre las fronteras del arte, hibridan g&eacute;neros art&iacute;sticos, y acreditan su permanente actitud de experimentaci&oacute;n pl&aacute;stica. Pintura, dibujo, collages, fotograf&iacute;a o t&eacute;cnicas mixtas, son empleadas aqu&iacute; para proponer discursos distintos pero que se aproximan entre s&iacute; por estar todos encaminados a romper con las percepciones lineales y estandarizadas de la obra de arte.</p> <p>En la obra de&nbsp;<strong>Ignacio Bautista</strong>&nbsp;predomina la manipulaci&oacute;n, la alteraci&oacute;n y la recomposici&oacute;n de im&aacute;genes y materiales. El artista parte del enorme universo ic&oacute;nico de los medios de comunicaci&oacute;n, de sus noticias e informaciones sobre una actualidad que caduca velozmente, para extraer/recomponer nuevas lecturas de esa realidad.</p> <p>Para&nbsp;<strong>Alejandro Bomb&iacute;n</strong>&nbsp;la utilizaci&oacute;n de las nuevas tecnolog&iacute;as es de crucial importancia en la concepci&oacute;n de su obra. Su proceso creativo parte de una imagen del entorno digital, escaneada y fragmentada en franjas horizontales, que luego se unifican en el lienzo como una imagen global, proponiendo una sutil reflexi&oacute;n sobre los conceptos de veracidad, realidad, subjetividad en la obra art&iacute;stica.</p> <p><strong>Starsky Brines</strong>&nbsp;aporta un universo de seres h&iacute;bridos y extra&ntilde;os para indagar en los resortes que movilizan al individuo, para abordar el tema de la violencia e inseguridad ciudadana de su pa&iacute;s, la precariedad y desilusi&oacute;n de una sociedad abrumada y ya indiferente por la triste cotidianidad de sucesos violentos que habitan las p&aacute;ginas de los diarios nacionales.</p> <p>Los trabajos de&nbsp;<strong>Sebasti&aacute;n Camacho</strong>&nbsp;plantean la confluencia de disciplinas pl&aacute;sticas tan habituales de las actuales pr&aacute;cticas art&iacute;sticas. Utilizando soportes y t&eacute;cnicas novedosas, propone una manera distinta de dibujar a partir del calado en las p&aacute;ginas en blanco de agendas o cuadernos.</p> <p>El punto de captura de la imagen fotografiada determina la concepci&oacute;n discursiva de la obra de&nbsp;<strong>Juan Carlos Mart&iacute;nez</strong>, un artista que se detiene en descomponer los l&iacute;mites de lo p&uacute;blico y de lo privado, proponiendo una reflexi&oacute;n sobre el deseo, lo sexual, la intimidad.</p> <p><strong>Diego Vallejo</strong>&nbsp;enmarca sus obras dentro de los g&eacute;neros cl&aacute;sicos de la pintura, haciendo visible la necesidad de revisitar los lugares del pasado y de -como apunta el propio artista- &ldquo;recorrer los caminos sobre los pasos que ya han sido dados&rdquo;. Prevalece en sus obras la plasmaci&oacute;n de esa atm&oacute;sfera imprecisa que envuelve seres y formas, el uso de la pincelada barrida que sugiere m&aacute;s que explicita, y de esa gama tonal arm&oacute;nica y predominantemente fr&iacute;a, que caracteriza su pintura.</p> <p align="right"><strong>Tania Iglesias</strong><br />Julio 2014.</p> <p>&nbsp;</p> <div class="jwts_clearfix">&nbsp;</div> Tue, 22 Jul 2014 07:22:47 +0000