“Exquisite Corpse” is a term for a collaborative art game created by the Surrealists of the early 20th century. Seattle-based artist Redd Walitzki, known for her sensual laser-cut wood portraits, frequently plays the game with her sister and sometimes model. The game provided Walitzki with the basis for her latest series debuting Saturday at Modern Eden Gallery in San Francisco. “While beginning the series, I discovered a Greek-Roman myth about Chloris, the Goddess of Flowers and Spring. Wandering through the forest, Chloris stumbles upon the lifeless body of a woodland nymph. Saddened by the innocent creature’s fate, Chloris breathes new life into her, transforming the nymph’s body into a flower,” Walitzki says. “This tale was the perfect genesis for the beautiful, yet slightly macabre, pieces I wanted to create, and became the jumping off point for this group of paintings.”
Oscar Wilde once said, “Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.” Turkish painter Taner Ceylan, previously covered on our blog, has sought to find the connect between sitter and artist in his latest exhibition, “We Now Must Say Goodbye” at Paul Kasmin Gallery in New York. The exhibit gets right to the point, containing just two original oil portraits and a sampling of drawings based on works by 19th century master portrait artist of the fashionable elite, Jean-Auguste Dominique Ingres.
For five years in a row, Beyond Eden Art Fair in Los Angeles has been like an oasis of collaboration in an increasingly competitive market and growing contemporary art scenes. Over the course of that time, galleries have come and gone, but Thinkspace Gallery, Copro Gallery, C.A.V.E. Gallery, and San Francisco’s Spoke Art galleries have remained a central part of the event. Well over 5,000 people were in attendance at the fair’s final installment this past weekend at the historic Barnsdall Art Park. This year’s event was as eclectic as ever, featuring works spanning Graffiti, Abstract, Surrealism, and other pop-culture influenced styles.
Njideka Akunyili Crosby uses a mix of collage, drawing and painting to create large-scale artworks with an emotive punch. The artist draws viewers into her works through details within acetone-transfer prints of small photographs takes from the internet and Crosby’s own photographs, in addition to magazines and advertisements. The layers, patterns, and their varying degrees of transparency create dreamlike images that move in and out of reality. In this way, the works hint at the complexities of fantasy and actuality in everyday domestic life.
Tonight, New York will welcome a new gallery into the art world with a name that should be familiar to most: Rumney Guggenheim is the great-grandson of the art collector Peggy Guggenheim, and the son of art dealer Sandro Rumney and Ralph Rumney, co-founder of the avante-garde organization, The Situationist International. The gallery’s first show, “Some Place Like Home” follows in the footsteps of his family members in its choice of young artists known for their use of experimental materials: Olivia Steele, Boxhead, Swoon, Moral Turgeman, Olek, in collaboration with Integrated Vision’s Michelle P. Dodson. Notably, all of them are women. Give the concept of “Home”, their works express interpretations of domestic bliss and one’s private space.
First featured in Hi-Fructose Vol. 15, North Carolina based artist James Marshall aka Dalek was exposed to punk rock, skateboarding and painting graffiti early on. His earlier works feature abstract illustrations of characters, strongly influenced by his time as an assistant to Japanese Pop artist Takashi Murakami, and over the years, have progressed into more geometrical works. Dalek has always liked things that are “super flat” and graphic, and he approaches his art with a mathematical sensibility. His paintings today feature geometric shapes that seem to morph when viewed from different angle.