Category: art

this and its lived consequence

dig

art is one of the primary human activities, and that it can succeed in articulating not just the imposed or constitutive social or intellectual system , but at once this and an experience of it, its lived consequence , in ways very close to many other kinds of active response, in new social activity and in what we know as personal life, but of course often more accessibly, just because it is specifically formed and because when it is made it is in its own way complete, even autonomous, and being the kind of work it is can be transmitted and communicated beyond its original situation and circumstances.

Raymond Williams, CULTURE AND MATERIALISM
1123162013a

RR, Hoarfrost series

dig
https://birdbird.tumblr.com/post/686900751410380800/robert-rauschenberg-1925-2008-untitled

In 1974 Rauschenberg began making works for his Hoarfrost series by combining elements of photography, collage and print-making. Working from a technique he had adapted in the late 1950s, the artist superimposed photographic images from a variety of sources onto delicate fabrics and then overlayed a gauze-like transparent cloth over certain areas, often with other images. — Christies.

These themes continue and morph in the Hoarfrost (1974–76) and Jammer (1975–76) series, both of which are represented in the exhibition. Each take hung and draped fabric as their starting point, but to different ends. The Hoarfrosts, such as Untitled (Hoarfrost) (1974), revisit the solvent transfer technique Rauschenberg first developed while traveling with Cy Twombly in the early 1950s, imparting faint and haunting imagery onto the fabric. Meanwhile, the series title is pulled from Dante’s Inferno, a nod to his earlier body of Dante Drawings (1958–60) also made with the solvent transfer process. — Mnuchin.

Constructing a Regular Pentagon with Ruler and Compass

dig

A step-by-step ruler and compass construction of a regular pentagon. The construction is due to H. W. Richmond, “A Construction for a Regular Polygon of Seventeen Sides,” Quart. J. Pure Appl. Math., 26, 1893 pp. 206–207.

A regular pentagon is a five-sided polygon with sides of equal length and interior angles of 108° (3?/5 rad). Because 5 is a Fermat prime, you can construct a regular pentagon using only a straightedge and compass.

Symbiosis at Berkshire Botanical Garden

dig

Berkshire Botanical Garden presents Symbiosis, the first of a four-part art exhibition.

Including outdoor sculptures in the gardens and indoor artwork in the Leonhardt Galleries, “Symbiosis” aesthetically merges art and the botanical world. Curated by renowned art collector Beth Rudin DeWoody, “Symbiosis” will not only focus on the interaction between two organisms that mutually benefit each other, but also will speak in a greater sense about the overall interconnectivity of living things. 

“I am thrilled to continue my ongoing collaboration with the Berkshire Botanical Garden — this time with ‘Symbiosis,”’ said DeWoody, who curated last year’s “Taking Flight” sculpture exhibit at BBG. “Throughout my collecting, I see patterns in the works that artists are creating. This exhibition focuses on the natural world and the relationships among living things and is reflective of what I have been seeing within the greater art world.”

“I am bringing to BBG lots of exciting, emerging artists that have been on my radar for a while,” DeWoody continued. “I’m also happy to show artists within this exhibition that are more world-renowned. Curating always gives me the opportunity to support and share my vision beyond just my collection. Enjoy!”

Chairman of The Rudin Family Foundations and Executive Vice President of Rudin Management, DeWoody is known for her vast art collection, which she houses and exhibits by appointment at The Bunker Artspace in West Palm Beach, Fla. She is the Vice Chairman of the Whitney Museum of American Art and Life Trustee at The New School in New York City. Her board affiliations also include Empowers Africa, Save A Child India, Inc, The Glass House in New Canaan, Conn., and the Hammer Museum in Los Angeles.

The outdoor sculpture portion of “Symbiosis” is on exhibit from June 10 through Oct. 28. It will feature works by Michele Oka Doner, Daniel Gordon, Brandon Lomax, Yassi Mazandi, Thaddeus Mosley, Ben Wolf Noam, Kiki Smith, Ned Smyth, Wade Tullier, and Erwin Wurm.

The first of three indoor “Symbiosis” exhibits this season in BBG’s Leonhardt Galleries will run from June 10 through July 24. It will feature works by Jose Alvarez (D.O.P.A.), Ann Craven, Michele Benjamin, William Binnie, DABSMYLA, Robert Davis, E.V. Day, Jordan Doner, Walton Ford, Daniel Gordon, Karen Gunderson, Judi Harvest, Steven & William Ladd, Lee Relvas, Kathy Ruttenberg, Sean Mellyn, Dana Sherwood, Alan Sonfist, Ana María Velasco, Paul Villinski, LeRone Wilson, Rob Wynne, and Firooz Zahedi.

The second indoor exhibition will run from July 29 through Sept. 11, and feature works by Christopher Adams, Charles Arnoldi, L.C. Armstrong, Madeleine Bialke, David Brooks, Leidy Churchman, Peter Dayton, Margot Glass, Mimi Gross, Paula Hayes, Robert Hawkins, Marc Horowitz, Kathy Klein, Seffa Klein, Nancy Monk, Charles Ray, Tomás Saraceno, Max Hooper Schneider, Katherine Sherwood, Simone Shubuck, Coleen Sterritt, and Tabboo!

The third indoor exhibition will run from Sept. 16 through Oct. 30, and feature works by John McAllister, Lou Beach, Helen Chung, Elliot Green, Adler Guerrier, Sophia Heymans, Marsia Holzer, Max Jansons, Poppy Jones, Iran Issa-Khan, Lacey Leonard, Matt Murphy, Peter Nadin, Rose Nestler, Jonathan Peck, Alexandra Penney, Rob Raphael, Megumi Shinozaki, Elizabeth Thompson, Celina Teague, Henry Vincent, Gabrielle Vitollo, Shanna Waddell, Faith Wilding, and Anna Zemánková.

“Symbiosis” is produced by Laura Dvorkin, co-curator of The Bunker Artspace and Beth Rudin DeWoody Collection.

AG2021-W&E_1890103a3

Untitled (Wander and Errancies–memories within; citrus in Saint Augustine). 2021. Archival pigment print. MNP.

Vini kouzen, map mennen w

dig
AG2022-haiti0403151813f (2018_05_26 23_06_40 UTC)a
Aquin, Haiti. April 2015.

À la fin du parcours, Mawoule et ses pairs ont remis un drapeau hautement symbolique aux autorités municipales. Avec le soleil au milieu, « ce drapeau traduit la tradition des Tainos et la culture de la canne à sucre tendant à disparaitre de la commune », expliquent-ils, espérant que l’étendard sera pris en considération et hissé.

Emmanuel Saintus, Journal Haïti Progrès

Des grains de poussière sur la mer: Sculpture contemporaine des Caraïbes françaises et d’Haïti 

dig

Dust Specks on the Sea: Contemporary Sculpture from the French Caribbean & Haiti opens on June 11 at Villa du Parc Contemporary Art Center in Annemasse, France; show runs through September 18, 2022. 

Raphaël Barontini, Sylvia Berté, Julie Bessard, Hervé Beuze, Jean-François Boclé, Alex Burke, Vladimir Cybil Charlier, Gaëlle Choisne, Ronald Cyrille, Jean-Ulrick Désert, Kenny Dunkan, Edouard Duval-Carrié, Adler Guerrier, Jean-Marc Hunt, Nathalie Leroy-Fiévée, Audry Liseron-Monfils, Louisa Marajo, Ricardo Ozier-Lafontaine, Jérémie Paul, Marielle Plaisir, Michelle Lisa Polissaint & Najja Moon, Tabita Rezaire, Yoan Sorin, Jude Papaloko Thegenus, Kira Tippenhauer

Des grains de poussière sur la mer – Sculpture contemporaine des Caraïbes françaises et d’Haïti présente les œuvres de vingt-six artistes issus de la Guadeloupe, de la Martinique, de la Guyane française et d’Haïti. L’exposition met en scène différentes approches matérielles et conceptuelles témoignant des pratiques des artistes de cette région du monde ; elle vise à souligner leur participation à un monde de l’art globalisé tout en poussant dans ses retranchements la question de savoir qui est au « centre » et qui est à la « périphérie ». Conçue à partir du médium de la sculpture, l’exposition présente les œuvres d’art de manière à la fois distincte et intégrée afin d’évoquer un réseau d’idées autour du patrimoine, de l’histoire, de l’identité, du corps social et de la politique.

L’exposition Des grains de poussière sur la mer – Sculpture contemporaine des Caraïbes françaises et d’Haïti a été créée par Arden Sherman pour la Hunter East Harlem Gallery du Hunter College New York en 2018. Elle a été rendue possible par le soutien généreux des services culturels de l’ambassade de France aux Etats-Unis et du Hunter College. Elle a également été soutenue par les directions des affaires culturelles de Martinique et de Guadeloupe, et la fondation FACE.

En France, l’exposition est coproduite par le Hunter College de New York, la Villa du Parc (74) et la Ferme du Buisson (77), centres d’art contemporain d’intérêt national.