This weekend, Richard Heller gallery in Los Angeles will present a much anticipated new series of paintings by Japanese artist Hideaki Kawashima. The show title “Back and Forth” refers to the artist’s interests in change, both in life and stylistically. His signature portraits of boys and girls have always employed a light and secular imagery. In other words, uniform ghost-like beings with only subtle inidivuality. Here, Kawashima elevates his subjects to what he calls ‘symbolic images’, with more color and details than before.
It’s blistering cold outside, but the whiskey is keeping you warm and the crackling of the record player is drowning out the howling wind outside. Jonathan Viner’s new paintings for his upcoming solo show “Cold Snap” immerses the viewer in stylized, retro images of this sort of wintery paradise. Filled with nostalgic imagery and elements of ’70s counterculture, his paintings are rife with intrigue amid their idyllic milieu. The works take on an illustrative quality as they let viewers in on an art theft in progress or what looks like an erotic encounter gone awry. “Cold Snap” opens at Sloan Fine Art in New York on October 24 and will be on view through November 2.
The current art market in the Bay Area is precarious. Two of the City’s three major art fairs disappeared last spring, galleries are getting evicted and artists are leaving due to unimpressive sales and rising rents. Curators from San Francisco and Oakland alike are racking their brains about how to appeal to the growing class of Twitterati. There is a disconnect between the Bay Area’s influx of wealth and its art. Tucked away in suburban San Mateo, just south of SF, Art Silicon Valley was envisioned as a fair that would entice the tech elite. With Maserati as a sponsor and only high-end galleries allowed, this was the glitzy answer to DIY endeavors that have been popping up recently (like Art Beats, covered here).
Robert S. Connett’s highly detailed and Natural Science-inspired illustrations have acquired a few labels, from strange, fantastical, alienesque, to unsettling. Even his website is “grotesque.com.” If evolution is an artist, then Connett’s artwork captures its unreal color palette and perspectives of worlds rarely explored. His studio in Los Angeles is filled to the brim with specimins, family photos and antiques that serve as reminders of his past and his inspiration. Rarely, if ever, does Connett invite visitors into this private space. In this exclusive interview, we discuss the thought process behind his new works.
The Virginia Museum of Contemporary Art (MOCA) will feature some of the foremost contemporary artists through a ten year retrospective of Hi-Fructose Magazine. This exhibition is a unique opportunity to bring a broad spectrum of artwork by over 50 artists from the pages of magazines and computer screens to the walls of a contemporary art museum dedicated to educating on the significant art of today. “Turn the Page: The First Ten Years of Hi-Fructose” is a collaborative initiative by two like-minded organizations – MOCA in Virginia Beach, Virginia, and Hi-Fructose The New Contemporary Art Magazine in San Francisco, California. Both are committed to creating an awareness of contemporary art that is informative, imaginative and relevant. This multi-faceted exhibition will feature artists working in a variety of media including sculpture, installation, painting, ceramics, and photography as well as interactive community outreach and satellite exhibitions. A wide selection of educational programming, film screenings, panel discussions, and events will provide the public an opportunity to interact with the art and artists in exciting new ways. You can check out more info on the Virginia MOCA website and look for more updates on the exhibition coming soon!
Thursday night’s opening of Alex Gross’s “Future Tense” at Jonathan LeVine Gallery in New York’s Chelsea district greeted viewers with a heavy dose of consumer culture. The exhibition initially comes off as accessible and playfully reflective of modern addictions, yet the works as a group are rather grim and much harder to swallow than their glossy, candy-colored exteriors would suggest.