TIS03 is twelve books by twelve artists, sold both as a box set and as individual titles.
Dig
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Staying South by Logan Lockner
Art in America, November 17, 2021 10:53am.
Lockner’s article surveys a sample of artists based in the American South, Coulter Fussell, Katz Tepper, and Adler Guerrier.
This series of overlapping, sometimes contradictory impressions is perhaps best conveyed by Guerrier’s use of techniques such as solvent transfer and collage in works on paper that create ghostly, overlapping black-and-white images of both natural and urban landscapes, often punctuated by cascading geometric shapes or intricate compositions. These works temper representation with more opaque visual poetics, creating images of a place that feel both familiar and far away.
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AG2021_2080827a or purple speckles, extends, and roams
Untitled (Place marked with an impulse; purple speckles, extends, and roams; a node linked to other planes of there)
Related : The purple enrolled me…
—to increase in length
Another End, Bin Ramke
of days, of nights, of neither. -
Bernadette Despujols
Adler Guerrier (2021), Oil on canvas, 40 x 30 in.
Spinello Projects presents I Love You, Man, the debut solo gallery exhibition by Venezuelan-born artist Bernadette Despujols. The exhibition features a suite of oil paintings depicting men who are close to the artist, on view at the Gesamtkunstwerk Building located at 2930 NW 7th Avenue. A special locals-only preview reception will take place Saturday, November 20, 6-10pm. Miami Art Week vernissage will take place Tuesday, November 30, 11am-4pm. Exhibition through January 15, 2022. Free and open to the public.
In I Love You, Man Bernadette Despujols paints the closest men in her circle. The paintings are a departure from her usual depictions of women in paintings. In previous paintings, Despujols positioned herself as the subject of her paintings although they were portraits of anonymous unconscious women sourced from pornography made by men. Holding the belief that to be a woman makes other people uncomfortable and ultimately poses a threat to men she turns her gaze and paints the cishet men in her life: friends, lovers, family. Despujols uses the portraiture of her male subjects to experience her relationships with deeper intimacy. Objectification and intersubjectivity (the relation or intersection between people’s cognitive perspectives) ebbs and flows between the painter and the painted. She objectifies the men in the paintings at times, focusing solely on one body part or their bare skin and bodies, but the men pose for the pictures with awareness and dignity. Nothing is stolen from them; Despujols may want to position these men ironically as muses but the truth is she defeats the irony of it with pure affinity and care towards the people she paints, leaving the men to decide what they want to wear and show of themselves. In the act of portraiture she experiences the vulnerability of these men through their quiet shyness or awkwardness with themselves, ways that would otherwise challenge the presumed status quo of manhood: tough, aggressive, aloof, qualities of patriarchy that, to Despujols, imprison both men and women in a cycle of violence. The paintings are formally infused with skewed perspectives, foreground and background foibles, and blank, paintless spaces furthering the playfulness she captures by being around the men she loves.
Available works click here -
AG2021_2080700a
an occurrence of marks (barely there, ghostly–I’ll come by, later) and elements from the nearby commons
