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.
Brazilian-photographer Vitor Schietti uses fireworks to create images of illuminated trees and dancing patterns in his series “Impermanent Sculptures.” To produce the images, the artist sets off fireworks at twilight. When the light is just right, Schietti uses a long exposure camera. The effect is semi-painterly and always captivating. The method comes from the artist’s interest in the moment of change or transformation, as well as the sociological question of how microscopic elements reflect the greater, macroscopic world. To this effect, the trees ablaze represent dual destruction and illumination. Though people and governments take climate change under serious consideration, we continue to destroy our shared environment. The burning tree is an all-too common phenomena in an age of extreme weather and drought, but it is also an ancient symbol shared across cultures. Captured in a photograph by Schiette, the burning tree inspires ominous feelings of both awe and doom.
Throughout history, the woods have served as a place for many fairy tale stories and legends. When the characters of Stephen Sondheim’s Into the Woods ventured into a dark wood, they went to fulfill their dreams and fantasies. What they were faced with instead was a place where nothing is what it seems and the truths of their realities. 25 artists were invited to explore just what is it about woods that are so compelling in Haven Gallery’s upcoming exhibition, “Into the Woods”: Adam Oehlers, Robert Kraiza, Mahlimae, Lara Dann, Marc Scheff, Anka Lavriv, Hannah Yata, Jean-Pierre Arboleda, Mab Graves, Brin Levinson, Gustavo Rimada, Poppy Lawman, Thomas Dodd, Chris Mars, Shane Pierce, William Basso, Nicole Palapoli, Rain, Paul Romano, Scott Radke, Christina Ridgeway, Joseph Weinreb, Brian Mashburn, Allen WIlliams and Vince Natale.
On October 14th, French artists 100TAUR and Hisham Echafaki will debut new works in their two-person exhibition, “Lusus Naturae” in London. Borrowing their title from a Latin phrase that describes any creature or specimen that defies classification, the exhibit will include a series of paintings, drawings and three-dimensional works that depict “freaks of nature”. Their works feature fantastical hybrid creatures alongside some of the world’s most bizarre members of fauna. Both 100TAUR’s portrayals of mythical monsters in their dark world and Echafaki’s intricate, pattern-filled works explore the human fascination with oddities or monstrosities along with our fragile relation with the nature.