O-I-L Paint (for Albert Ryder) By Bill Jensen.Nicky Nodjoumi: We the Witnesses By Andrew Paul Woolbright.Kon Trubkovich: The Antepenultimate End By Nicholas Heskes.Louise Lawler: LIGHTS OFF, AFTER HOURS, IN THE DARK By Hannah Sage Kay.Tamara Gonzales: Horrible Beauty By Amanda Millet-Sorsa.Kon Trubkovich: The Antepenultimate End By David Carrier.Pure Meshuggah: Anti-Semitism Invades Art History By Francis M.Free for members, youth ages 17 and younger, & college students with ID.A message from Phong Bui Publisher and Artistic Director Art Illuminating changing ideas about place, national identity, community, wildlife, and the environment, the exhibition offers compelling new insights into these meaningful pastimes. Wild Spaces, Open Seasons is the first major exhibition to explore American artists' fascination with hunters, fishermen, and the sporting life in paintings and sculptures from the 1820s through the 1940s. de Young Museum Society, the Patrons of Art and Music, Friends of the Museums, and by exchange, Sir Joseph Duveen, 72.28 Museum purchase, gifts from members of the Boards of Trustees, The M.H. Left: Alexander Pope (American, 1849-1924), The Wild Swan, 1900, oil on canvas, 57 x 44 1/2 inches, Fine Arts Museums of San Francisco, San Francisco, California. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Reading heat as both metaphor and index, these images reveal the migrants’ struggle for survival that is witnessed, yet still ignored by many. Mosse uses the camera against its intended purpose of border and combat surveillance to map landscapes of human displacement. The Castle documents refugee camps and staging sites using a powerful telephoto military-grade camera that can detect thermal radiation, including body heat, at a great distance. Joslyn’s exhibition will feature a selection of works from Mosse’s recent series, The Castle, which chronicles the refugee crisis that has gripped Europe, the Middle East, and North Africa over the last several years. His most well-known work employs photographic methods or materials originally developed for the military, such as reconnaissance infrared film. 1980) studies localized conflicts that have broad social, political, and humanitarian implications. Through a conceptual approach to documentary photography, Richard Mosse (Irish, b. Just as these practices alter appearances, Smith's interventions complicate the surfaces of his photographs and, at times, even completely obscure portions of the images, calling into question their authority as representations of "truth." A Riley CAP Gallery exhibition. By incising his images, Smith references several cultural traditions, including African tribal masking and scarification, in which the skin is cut, leaving indelible patterns on the body. Having emigrated to the United States from his native Jamaica, Smith has long been captivated by the concept of hybrid identity–often experienced acutely by those who have migrated across borders–while mining the fraught intersections of place, memory, and dislocation. Trained in ceramics, Smith uses sharp, wooden tools to stipple the surfaces of photographs he has taken in New York City and Jamaica that examine the African and Caribbean diasporas. Drawing on the art historical traditions of Pointilism and Geometric Abstraction, Paul Anthony Smith creates "picotages," named for a pattern printing technique that entails pressing textured blocks onto fabric.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |