Piers Secunda creates art out of history and ruin. The painter’s latest exhibition, What Remains, is now on display at the Imperial War Museum in London and is marked by a distinct materiality—works in the show are made with industrial paint, as well as charcoal from the ruins of Mosul, Iraq, ground into ink. Almost resembling individual plaster casts, Secunda’s unique painting method allows him to build his “canvases” into the third dimension. Resulting forms can be cut, carved into, sculpted, and painted over. The cast-like quality is also used more literally. For this show, the artist has used his material method to capture impressions of ISIS bullet holes and bombed building fragments collected on-site in Mosul. “I developed [these] systems of making works of art with paint, where I took the paint for a walk in three dimensions and I tried to figure out how I could enable the paint to grow without those traditional restraints,” Secunda told The Art Newspaper, “Since then, I've tried as much as I can to examine what the damaging of art means, especially if entire communities or ideologies systematically go about doing it.” The Imperial War Museum is exploring the theme of ruin and destruction over the past century in a free season of three exhibitions called Culture Under Attack. In addition to What Remains, the series zeroes in on the Nazi's targeted bombings of London during WWII and the Taliban's destruction of religious iconography in Afghanistan. These ruinations spark the conversation around cultural heritage and how it is both protected and restored. What Remains specifically focuses on the Mosul Museum, an ISIS target that was looted and burned by the group, sparking a worldwide outcry. It shows that the destruction of art is as powerful a symbol as the creation of art and has been exercised for millennia as a method for new leaders or regimes to assert dominance over prior systems. Secunda’s work reinvigorates and reinstates the destroyed art, creating something new out of the ashes, quite literally. His series of drawings, created as site studies from the artist’s photographs of various ruins, could become an exhibit unto themselves. Secunda created the drawings by grinding the charcoal from the burned buildings down with mortar and pestle and mixing it with alcohol and gum arabic, fixing it to the paper in a fluid motion. Secunda’s drawings incorporate a strikingly different process than his paintings since they are two-dimensional. But the artist comments on the two disparate ways of working, saying: “Drawing by comparison is like lightning—it's that immediate instant of expression and you can see the line grow.” In the interview with The Art Newspaper, the artist said he's eager to explore destruction Mali and Syria next.
Posts tagged with "Exhibtion":
“When I arrived there I was a journalist. And when I left on that very same day I became an artist,” said Keris Salmon, an African-American visual artist, describing her visit to a plantation that her white husband’s family had owned for over 100 years. “I couldn't leave without making something out of it.” What she made out of it was a print portfolio titled We Have Made These Lands What They Are: The Architecture of Slavery, a collection of 18 prints that were displayed as part of Pulled In Brooklyn at the International Print Center in New York City, which ran through June 15. Keris has since visited dozens of plantations across the American South, and taken photographs of the structures that remain, from the rough wooden siding of former slave cabins to the lace curtains of the “big houses” built with clay bricks by the slaves who lived there. Salmon, a television journalist-by-training who had worked for NBC, ABC, and PBS before turning towards art, has done her research. The many stories, historical figures, and writings that she has unearthed reveal the secrecy and complexity of the slave era in America, secrets and complexes that are still pervasive today. The exhibition’s title was derived from a real-life encounter between a group of former slaves running back to their plantation after emancipation, and a group of white people observing and asking, why? In the words of Salmon, “they responded nearly in unison, ‘we made these lands what they are.’” Salmon’s work explores the expansive truth behind this phrase, revealing how America as a country was both physically and theoretically built by slavery, and how both positive and negative impacts remain, unflinching, within American society today. Salmon has collected her photographs and snippets of text from historical documents and visits to dozens of plantations across the American South, and the resulting combinations of visuals and printed text express the pedestrian elements of slavery, rather than the shackles, whips, and leg braces of the horror stories. When asked why in an interview by PBS reporter Duarte Geraldino, Salmon replied, “Life then was very pedestrian,” with segregated norms made up of the plantation architecture, furniture, period lace curtains, “the kind of thing[s] that people encountered every day, black and white.” Her texts are presented in a custom-designed typeface; the artist worked with Brooklyn-based printmakers Peter Kruty and Sayre Gaydos to create a visual language that focuses on the font’s significance without “hitting you over the head with it,” according to Gaydos. Resembling the lettering styles used for runaway slave and auction posters at the time, Salmon’s type spells out a different kind of story. While the “architecture” that Salmon is referring to in her title is not explicitly that of the built environment, her work asserts the concept of slavery being the structure that America is built on. National political issues from unequal educational opportunities to mass incarceration are systems that remain today, just as the plantation houses and clusters of slave cabins in Salmon’s photographs remain. The Architecture of Slavery reminds us of the many deep connections between the history of race in America and the present moment.
Experience the Patterns of Light Exhibition for RBW's launch of their latest collection for a limited time during NYCxDesign Week. Their latest introduction of oversized textile pendants will push the boundaries of scale while creating a warm, luminous volume that provides a delicate heft and visual weight to a space.
first-of-its-kind touring exhibition, Dimensionism is organized by the Mead Art Museum at Amherst College. It is on view at the Mead from March 28, 2019–July 28, 2019. The exhibition features approximately 70 artworks and is accompanied by an illustrated exhibition catalogue published by MIT Press. The exhibition is inspired by the 1936 “Dimensionist Manifesto,” which declared that artists should respond to the scientific advances happening around them. Under the leadership of Hungarian poet Charles Sirató, an international group of artists endorsed the Manifesto, which exhorted artists to use their art to explore the new physical realities and philosophical queries of their day. The Manifesto’s collection of signatures represents some of today’s best-known modern artists, including Hans Arp, Alexander Calder, Marcel Duchamp, Robert Delaunay, Sonia Delaunay, Wassily Kandinsky, László Moholy-Nagy, Francis Picabia, and Sophie Taeuber-Arp. The exhibition also includes others who engaged with these ideas in their art, such as Joseph Cornell, Naum Gabo, Helen Lundeberg, Herbert Matter, Isamu Noguchi, Wolfgang Paalen, and Dorothea Tanning. Their works reflect the drive of many modern artists throughout Europe and America to discover a new vision for human existence and expression in an era that redefined fundamental realities such as time and space. By tracing a transnational flow of information and ideas, Dimensionism contextualizes modern art within the scientific revolution, and in doing so introduces new narratives on influential mid-century artists and the modern art scene more generally.
The Southern California Institute of Architecture (SCI-Arc) has announced Environment[al], a forthcoming exhibition curated by Herwig Baumgartner and Marcelyn Gow that will explore “contemporary attitudes toward environment in a post-digital context.” The exhibition and installation will feature the work of a slate of renowned international designers, architects, and landscape architects as it seeks to examine the changing character of environmental concerns in the face of technological innovation and climate change. According to a press release, Environment[al] will feature the work of Izaskun Chinchilla of Izaskun Chinchilla Architects, Enric Ruiz Geli of Cloud 9, Carme Pinós of Estudio Carme Pinós, Wolf Prix of Coop Himmelb(l)au, Gilles Retsin, and Günther Vogt of Vogt Landschaftsarchitekten. The exhibition will be supported by a panel discussion taking place June 15th that will feature Baumgartner, Chinchilla, Geli, Gow, Restin, and Vogt as well as Violeta Burckhardt, Vittoria Di Palma, SCI-Arc director Hernan Diaz Alonso, and SCI-Arc history and theory coordinator Marrikka Trotter. The exhibition will seek to engage with the ways sites, objects, and spaces generate “multiple authenticities” in contemporary constructed environments and will include transforming the school’s campus gallery into an interactive installation. The gallery will be transformed into a “landscape/substrate” designed as a diagrammatic facsimile representing the soil and geologic conditions of the Owens Valley to the northeast of Los Angeles. The space will also host a “sound map” installation portraying recordings taken along the banks of the Los Angeles River that will play when participants interact with elements of the installation. The exhibition is slated to open at the school’s campus gallery June 15, 2018.
Endless House: Intersections of Art and Architecture Museum of Modern Art The Robert Menschel Architecture and Design Gallery 11 West 53rd Street, New York Through March 6, 2016 The Museum of Modern Art pays homage to the single-family home in Endless House: Intersections of Art and Architecture, a rich exhibition comprised of photographs, drawings, video, installations, and architectural models from MoMA’s collection. It showcases the artistic endeavors of both architects and artists alike with works that span seven decades. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. The inspiration for the exhibit’s name is Frederick Kiesler’s "Endless House," shown in the 1960 MoMA show Visionary Architecture. Courtesy MoMA