While looking through my Sculpture magazine, I stumbled upon Choi Jeong Hwa's work. I can't say I like all of their work, but was really transfixed with this installation.
I finished repainting the rusty bottom of my hand cart.
I then experimented by adding some acrylic eyecaps to one of my current art pieces.
I jumped out of bed tonight, grabbed a sketchbook and pencil, and drew my hand. This impulsiveness sometimes overcomes me–the intense desire to do something creative.
It was an excellent day with artist friends creating collages.
My friend's art opening was tonight at Ampersand Gallery.
01.19 - 02.18.2017
ampersand international arts is pleased to present Fleeting Shattered Continuous a solo show of work by Sarah A. Smith.
In Fleeting Shattered Continuous Sarah A. Smith employs properties such as fragility, erosion, and decay to examine the contradictions, tension and violence in political and economic structures. Exquisitely baroque technique paired with images of animals and nature, create emotionally charged narratives that question notions of preciousness, permanence and worth.
Using decorative methods more often used to create opulent, gilded interiors for the wealthy, Smith examines the conditions that support their privilege. "Imperialism, domination and hoarded wealth are ideas I seek to poke holes in. The symbols of power are rendered as fragile, breakable; with one kick all shatters." -Sarah A. Smith.
Belying the notion that lushness denotes abundance, for this exhibition Smith layers images, materials and techniques to create a fragmented narrative of irretrievable loss.
Today was my first visit to the expanded SF MOMA. I had an incredible time.
These painted bamboo sticks evoke tools used by lost cultures to measure the passage of time. The markings suggest notions of size in anthropological photographs of such artifacts. Two phrases are painted on the hanging latex strips. "Bamboo city" refers both to the safe areas and watering holes used by American soldiers during the Vietnam War and to the refugee camps that emerged along the Cambodian and Thai borders. "Chinese porcelain" references the historical trade economy between China and the Netherlands that relied on Vietnamese ports. For Sietsema the sticks also act as metaphors for his movement through time periods while researching his projects.
This textured and mottled image began as a bitmap source file in Photoshop, which Guyton then printed on a linen support. Inkjet printers are not intended for fabric, and the artist's deliberate misuse of the technology provoked disruptions, jams, blurs, clogs, and streaks, creating a surface akin to a lushly painted canvas. The imperfections and glitches remain as markers of the work's making: the uneven vertical line at the center is a reminder of the folding process Guyton devised to print on material of this width, while the white horizontal lines at the upper right reflect the incomplete transfer of ink.
One of my favorite pieces I've ever seen by Anish Kapoor.
I only got to see a small portion of this video work and was completely mesmerized. I cannot wait to revisit the piece and sit for the entire piece.
I started my visit at the information desk to ask about reliquaries, hair jewelry, and miniatures. I then spent the rest of the day exploring their collection.
Over the years, I've started to develop a love for painted landscapes.
This is one of my favorite paintings ever and I always make a point to spend some time viewing it.
I wandered around Chelsea neighborhood visiting galleries today with my friend Honey, who is also an artist. The highlight of the day was the last gallery featuring work by one of my favorites–Paul McCarthy. We talked to the security guard for quite some time who had some great inside information about McCarthy's process. I'm really grateful for him sharing because it answered many questions that we had before he approached us. For example, there was a rumpled carpet and according to the guard, McCarthy and assistants meticulously arranged the corner of the carpet, until it perfectly matched documentation photos of McCarthy's art studio. He further explained that the large sculptures were made in McCarthy's studio, carefully and copiously photographed, shipped to the gallery on palettes, then painstakingly positioned again to the original art studio layout.
Some beautiful, new architecture being built in Chelsea.
Mark Beard/Bruce Sargeant's paintings at Clamp Art.
Karin Pilem at Claire Oliver Gallery
Karin Pilem (detail)
Lauren Fensterstock's artwork at Claire Oliver Gallery
Mark Rothko's art show, Dark Palette at PACE Gallery
Tony Scherman's Difficult Women art show at Winston Wächter Fine Art.
Artwork at Cavin Morris
Sylvain & Ghyslaine Staelens incredible sculptures at Cavin Morris
Mami Kosemura's installation at Dillon + Lee
Benny Andrews' surreal paintings dealing with racism. I was blown away.
Paul McCarthy's mind-blowing show at Hauser & Wirth
After a day visiting galleries in Chelsea, I followed my artist friend, Honey to his studio to check out some of his recent work.
Met up with artist friends in NYC at the Metropolitan Museum of Art and visited the show for Kerry James Marshall. It was the largest collection of his work that has shown together. I was greatly impressed not only by his excellent painting technique, but his gut-wrenching content. While drawn in with his passionately bright colors, I was conversely sickened by the expression of racism in America and particularly in the Chicago area.
The locket paintings were the highlight of the show. They acted on an almost subliminal level. He has removed most of the original photograph of a lynching and kept three of the women that are present.
There was an affiliated show that highlighted works by other artists that have suggestions of Marshall's work. It's not surprising, that I fell in love with the African power figure.
After visiting The Met Breurer, my friends and I headed over to the main museum. I made a fast stop to see a Spanish relic that I really like. Afterwards, I quickly went through the exhibit Fragonard: Drawing Triumph and wasn't really interested in it. So then I walked through Valentin de Boulogne: Beyond Caravaggio, which was really incredible.
Finally, on the way home, my friend and I walked around the city and I took a couple of photos.
Gold, rock crystal, enamel
Spanish, 16th century
This reliquary takes the architectural form of a two-story altar, with a shell niche in the upper story framing enameled figures of the Crucifixion. In the lower story, a rock crystal cylinder displays a cross that was believed to incorporate a fragment of the true cross, and the capsule below contains a supposed relic of the sponge held to Christ's mouth when he was on the cross. The upper mount of the cylinder is engraved with an inscription that translates as "The wood of the cross, the alleviating sponge".
On my walk home, I passed by an art gallery in Dumbo that I've been to before. In the front window was my friend Vincent Como's work. I especially like this series and reminds me of an art piece I created years ago of an all-black, oval Victorian picture.
Terrance Graven is a San Francisco artist whose installations incorporate sculptural elements, performance art, costumes, sound pieces, and theatrical lighting.