Posts tagged with "Painting":

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Styled like illuminated manuscripts, Lari Pittman's paintings stand in a Michael Maltzan Architecture-designed exhibition

Lari Pittman: Mood Books, features an exhibition design by Michael Maltzan Architecture (MMA) and is currently on view at The Huntington Library, Art Collections, and Botanical Gardens in San Marino, California. Pittman’s works consist of six large-scale art books that contain a total of 65 hallucinogenic paintings styled by the artist in the manner of illuminated manuscripts. Michael Maltzan described Pittman’s works to The Architect’s Newspaper during a recent studio visit as “architectural in scale,” which the firm sought to accommodate via an elaborate and expressive series of billowing, stark white pedestals. MMA’s lofted forms serve to highlight the weighty books, with the smooth, white-painted plywood reliquaries accentuating the bulk and eye-popping color of Pittman’s paintings. The pedestals connect to form one long sequence, an alternating display of spreads that will change throughout the course of the exhibition’s duration as the book pages are turned by gallery attendants.

Lari Pittman: Mood Books The Huntington Library, Art Collections, and Botanical Gardens 1151 Oxford Road San Marino, CA Through February 20

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New Rashid Johnson exhibition to open at New York’s Hauser & Wirth gallery

Fly Away, named for the perennially reinterpreted gospel “I’ll Fly Away,” is a collection of paintings and sculptures by Rashid Johnson at New York’s Hauser & Wirth gallery. Johnson’s work has been referred to as “post-black,” and often deals with the African-American experience in a range of media, from photographs to music. Following the theme of last year’s Rashid Johnson: Anxious Men at the Drawing Center, the artist uses black soap and wax as materials in Fly Away. Inhabiting one room of the exhibition is “Within Our Gates,” a collection of black metal shelving populated by objects like live plants, books, and shea butter.

According to Hauser & Wirth, the enclosed objects are signifiers inspired by the African diaspora. The room also contains an upright piano that will be played in drop-in performances by Antoine “Audio BLK” Baldwin, a New York–based piano player and music producer. Baldwin will play original jazz compositions during the first week of the exhibition, with periodical unannounced visits afterward. Johnson’s work will also be featured in an exhibition at the Kemper Museum of Contemporary Art in Kansas City, Missouri, early next year.

Rashid Johnson: Fly Away Hauser & Wirth 511 West 18th Street New York September 8–October 22, 2016

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New Detroit urban arts venue Wasserman Projects set to open September 25

“Detroit is not having a renaissance,” philanthropist Gary Wasserman proclaimed in the Bushwick, Brooklyn studio space of painter Markus Linnenbruck, “It is an entirely new expression of urbanism.” With the sun pouring in through large, iron-frame windows, he introduced the concept for his new Detroit arts venue. Cities, he says, are “the 21st century frontier,” not the West or Space. “Detroit is not the only city to fail, but it is the biggest,” he said, noting that the city was once over 2 million people, but is now down to 600,000 or so. This has left massive amounts of transportation infrastructure, cultural infrastructure, and housing redundant and abandoned. In this landscape, the city needs more places to sustain urban activity. Wasserman wants to create “a destination providing something of interest that becomes another thread in the urban fabric,” he explained. Wasserman Projects will be located in an old 5,000 square-foot fire station in Detroit’s Eastern Market district and will open on September 25th during the Detroit Design Festival. The new arts hub is expected to spur artistic interaction and development. The space will grow to 9,000 square-feet in the coming months, and will eventually include a kunsthalle, chamber concert hall, a gallery, an artist’s residency, a studio space, and a permanent installation of The Cosmopolitan Chicken Project, which is the work of Belgian artist Koen Vanmechlen. He breeds national symbolic chickens as a metaphor for human diversity. The opening exhibition will be a collection of paintings by Linnenbruck, shown in a pavilion designed by Miami architect Nick Gelpi. The pavilion is a large wooden structure that splits open to reveal a glossy, colorful interior painted by Linnenbruck. The two halves become an acoustic space for performance.
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Painting Palmitas: Artists in Mexico cover an entire hillside village in one enormous psychedelic mural

Pachuca, Mexico is hoping a psychedelic mural can cement the transformation of a once crime-stricken neighborhood to a safer, more unified community. The government-sponsored urban renewal project, called El Macro Mural Barrio de Palmitas, coated over 200 hillside dwellings in a vibrant layer of paint with striking results. The government teamed up with a local graffiti collective, Germen Crew, to create the hillside mural, bringing in local residents to help with the project. The project encompassed an estimated 65,000 square feet of facade in all, transforming the once unembellished exteriors with multicolored swirls in rainbow hues. Up close, the village streets appear coated in large blocks of color, but from a distance, the mural takes its unified form, cascading from roof to roof to create a striking image. “We are trying to create a movement,” said Germen Crew in a recent interview, “We are taking into account the history of the colony but also its present, its people. And when you come to the streets, you'll find the identity of the place, but the idea is also to create an iconic place for everything Pachuca.” Germen Crew's paintings intend to preserve the community’s culture and are created in a way that provokes a more positive outlook. “We are making the world we want to live in, a world where you work and offer talents for the benefit of the common good,” stated Mybe, co-founder of Germen Crew.
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Impossible architecture: Spanish artist's acrylic-on-wood paintings feature gravity-defying, Escher-esque scenes

The impossible architecture depicted in paintings by Spanish artist Cinta Vidal Agulló are immersive M.C. Escher-meets-Dr. Seuss dreamscapes of multi-dimensional planes inhabited by tiny, doll-like figures. The “un-gravity constructions,” as Vidal Agulló calls them, are microscopically-detailed, small-stroke acrylic paintings on wood panels, each maze-like world resembling a planet unto itself. The confusion of the eye in its scramble to identify which way is up is a metaphor for the human condition: the impossibility of completely understanding those around us while grappling to comprehend ourselves. Namely, it is the oft-concealed disparity between our mental state and our physical environs. The topsy-turvy living spaces are peopled by faceless, solitary-looking characters and infinitesimal dollhouse-like furniture and objects, sometimes careening through the air. This foray into intricately detailed, realist painting is a first for Vidal Agulló, who has painted theater backdrops for operas for one of the world’s most prestigious scenography ateliers since age 16. She now works in a small studio in Cardedeu, a small town near Barcelona, Spain. Versed in the application of a large, broom-like brush and large-scale works, Vidal Agulló relished the challenge of reverting to a smaller scale where every flick of the brush matters. Her paintings feature multiple angles and top-sides of interconnected scenes where one is left to decipher the relationships between them. “The architectural spaces and day-to-day objects are an expression of how difficult it is to fit everything that shapes our daily space: relationships, work, ambitions, and dreams,” Vidal Agulló said in an interview with Hi-Fructose. Some of her paintings feature unnaturally conjoined buildings, while others depict upside-down-right-side-up interiors. “Playing with everyday objects and spaces placed in different ways to express that many times the inner dimension of each one of us does not match the mental structures of those around us,” she said.
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On View> Alma Thomas: Moving Heaven & Earth, Paintings and Works on Paper, 1958–1978

Alma Thomas: Moving Heaven & Earth, Paintings and Works on Paper, 1958–1978 Michael Rosenfeld Gallery 100 11th Avenue at 19th Street New York, New York Through May 16 Focusing on the two final decades of Alma Thomas’ life, this exhibition displays the late-blooming artist’s most vibrant paintings on the monumental canvases she became celebrated for in the 1960s and '70s. Inspired by nature, recent discoveries in the sciences, and her observation of earthly and celestial phenomena, Thomas’ experimentations with vigorous, rhythmic colors and abstraction resulted in modern art unencumbered by political and historical intentions, and vested merely in the enjoyment of art itself. This marks the second time Thomas’ work will be exhibited at the Michael Rosenfeld Gallery. Her first show, Alma Thomas: Phantasmagoria, Major Paintings from the 1970s, was held in 2001.  
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MCA Chicago unveils new logo, plans for image overhaul with help from Johnston Marklee

Change is underway at Chicago's Museum of Contemporary Art. At a press conference Friday MCA officials revealed that the institution is working on a new image, new programming and even a new master plan for the museum's space led by Los Angeles–based design firm Johnston Marklee. The announcement was timed to coincide with the last push of a major fundraising campaign. The museum has quietly raised $60 million in recent years, nearing a “vision campaign” goal of $64 million. Today they revealed their latest donation: $10 million from Kenneth Griffin, an MCA trustee who is also the richest man in Illinois. MCA's fourth floor galleries will now bear his name. “We've been thinking about what a 21st Century museum looks like,” said Madeleine Grynsztejn, MCA's director. Citing figures from the National Endowment for the Arts, Grynsztejn said the museum needs to become more “responsive” to the community—“a civic institution of local necessity and international distinction.” Part of that mission includes converting the cafe space into an “engagement zone” for public events, performances and education. Museum goers looking for a snack will have to find it on the first floor, where a new restaurant will front onto Pearson Street. Those and other changes to the 1996, Josef Paul Kleihues–designed building's programming are part of a new masterplan currently in development at the offices of architects Sharon Johnston and Mark Lee. Dutch designers Armand Mevis and Linda Van Deursen of the firm Mevis & Van Deursen also designed a new logo for the museum—part of a larger campaign to rebrand the museum and reengage with a public tempted to seek out art online or otherwise outside the Streeterville museum's walls. MCA has had some success reinvigorating popular conversation about contemporary art with its David Bowie Is exhibition, which recently wrapped up its run at the museum after drawing nearly 200,000 visitors—an MCA record, according to Grynsztejn. “The Bowie show challenged the MCA to raise our game,” she said. That could include expanding hours or more drastically reconsidering the museum's model, Grynsztejn wondered aloud Friday. But it will definitely include more shows for young artists on the cusp of a breakout, said curator Michael Darling, as well as more interactive exhibitions. Darling pointed to an upcoming residency by the Grammy-winning chamber group Eighth Blackbird, which he said would include unannounced and improvised performances throughout the museum, with the intent to connect the public with contemporary music and the process of creating it.
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On View> Building the Picture: Architecture in Italian Renaissance Painting

Building the Picture National Gallery London April 30 through September 2014 At the end of April, the National Gallery will present a new exhibit spotlighting the handling of architecture in various paintings by prominent Italian renaissance artists. Building The Picture will feature works by Duccio, Botticelli, Crivelli and others chosen from the museum's permanent collection along with paintings gathered from other institutions in the U.K. These 14th, 15th, and 16th century images will be complemented by a series of five films that offer contemporary ideas on the theme of real and imagined architecture from Peter Zumthor, filmmaker Martha Fiennes, art historian T. J. Clark, film historian John David Rhodes, and computer game cinematic director Peter Gornstein. The Renaissance bore witness to several breakthroughs in terms of realistic representation, particularly in the realm of architecture. Techniques like perspective enabled artists to depict increasingly life-like architectural compositions. Such skills were used towards the rendering of real structures or the creation of imagined and compelling architectural scenes that still maintained believable spatial qualities. Despite these developments, the period was still largely lacking in the concept of an architectural education, meaning that prominent figures like Brunelleschi and Michelangelo trained in other artistic fields before venturing into building design. Exhibit curators see a contemporary resurgence in these blurred boundaries between art and architecture, a fluidity that is reinforced by the diverse roster of figures contributing to the show's film program. Within Renaissance Art History, architectural compositions traditionally receive second billing to the human figures that populate them. Building the Picture hopes to show how in many cases, buildings acted as foundations for the resultant paintings, dictating the layout and direction of the remainder of the work. The exhibit opens in London on April 30. It will be accompanied by an online catalog permanently available on the National Gallery website.