by Sponsored PostPosted on

The beinArt Surreal Art Collective has announced a compelling stretch goal after an extraordinary beginning to their Kickstarter crowd-funding campaign. With additional contributions, they hope to open a beinArt Collective Gallery and Shop. A real-life creative hub which would focus solely on strange, surreal and imaginative figurative art. The artists of the Collective have rallied together and contributed an extraordinarily long list of rewards for backers, including original artworks, limited-edition prints and books! These generous, heavily discounted deals will only be available for the duration of the campaign, which will finish in 8 days!

by CaroPosted on

Largely influenced by Late Baroque and Rococo, Kris Kuksi (first covered in HF Vol. 19) recently presented a new body of work for his solo show at Joshua Liner Gallery in New York, “Amalgamation.” Where Rococo artists made a fluid and graceful approach to the Baroque, Kuksi’s mixed media assemblages possess a certain darkness. Oftentimes, we find his subjects engulfed in a chaotic, yet ornate collection of “throwaway” objects. The title of his exhibition alludes to the complete confusion and disorderly nature of each piece.

by CaroPosted on

Stephen Romano Gallery in Brooklyn has assembled a rather eerie exhibition in cooperation with Morbid Anatomy Museum that pairs contemporary works with a wide variety of vernacular photography, folk sculpture, spirit photography, and more. “OPUS HYPNAGOGIA: Sacred Spaces of the Visionary and Vernacular” takes a look at creative enlightenment over the centuries, and explores our ongoing fascination with mental phenomena like Hypnagogia. On display will be recent works by the likes of Martin Wittfooth (HF Vol. 19 cover artist), Kris Kuksi (first covered in HF Vol. 19), Caitlin McCormack, El Gato Chimney, Rithika Merchant, and Hunter Stabler whose creations share a surreal quality or supernatural theme.

by Nastia VoynovskayaPosted on

While Kris Kuksi’s baroque assemblages (first covered in HF Vol. 19) have an ornate aesthetic suited for marble or gilded bronze, his work is composed of carefully-chosen collections of commonplace, throwaway objects. Kuksi assembles dolls, jewelry, model parts and various consumerist debris into monumental dioramas. Within them, his characters are embroiled in a chaotic drama of violence and sex, which Kuksi carefully contains into symmetrical, harmonious compositions that appear deceptively decorative at a first glance. The Kansas-based artist will be showing his new body of work for his solo show, “Antiquity in the Faux,” opening at Mark Moore Gallery in Los Angeles on November 15.