On view this weekend in New York City at the Art on Paper fair. If you’d like to receive complimentary passes to this event, please email our sister gallery, hashimotocontemporary at hashimotocontemporary(at)gmail.com
Leo and Diane Dillon were one of the greatest illustration teams in the history of Fantasy Art. Books that have used their illustrations for cover or inside art include an edition of the Narnia books, Garth Nix’s Sabriel, Lirael and Abhorsen, Her Stories and The Girl Who Spun Gold by Virginia Hamilton, The Earthsea Trilogy by Ursula K. LeGuin, Aida by Leontyne Price, The Girl Who Dreamed Only Geese by Howard A. Norman, and many, many more.
These paintings represent a modern study in dichotomy and perception from a historical context using portraiture as the interpretive engine.
I often use the image of the black woman in unaccustomed/atypical context; derived to create a visual tension between historical fact, misinformation and myth. The viewer is lured into the possible narrative of the depicted figure by her beauty, strength and grace; however immediately enters an intellectual menagerie where they are confounded by the disconnected visual clues. Is she slave or slaveholder? Is she captive or free, is she servant or served? Is she factual or fictional in a historical context? All of these questions and more provide basis for the individual viewers journey of allegorical interpretation.
The images are imbued with cultural and ethnic symbolism that provides insight into the historical context of the painting. Yet, the icons, combined with my personal visual vocabulary, may remain unseen or misread by the “unknowing” eye; the eye that never learned the historic bases for all the possibilities in the lives of these women. In a society that often make instant cultural judgements based on visual cues that are often stereotypical, but not always, I feel offering ethnic imagery that defies common visual library of the modern citizen may challenge each individuals biases and foregone conclusions of their own notions of what race represents in history and therefore in humanity.
The images beg the question: Is “Truth” self-evident? Who’s “Truth”? How does knowledge, experience and perception of one’s “self” determine what is evident? If the view of oneself is skewed is it possible to see another clearly?
The London-born, Los Angeles-based artist will cover the wall of the gallery from floor to ceiling with more than 12,000 cyanotype prints. Each print was produced using an object from the artist’s studio, and is presented in chronological order from Los Angeles in 2013 through the end of his month-long residency at the Barbican this past September.
The first survey of the massively influential German artist’s group and their contemporaries—including Lucio Fontana, Yayoi Kusama and Jesús Rafael Soto—that shared their aspiration to redefine art after World War II.
2 Herald St, E2 6JT & 37 Golden Square, London W1F 9LB
In this double header at the galleries two locations, the Norwegian artist presents two shows of large scale, abstract expressionist work. This follow up to her May show at Greene Naftali in New York certainly won’t disappoint.
You asked for it, you got it! Starting this Monday (4/14/14), Medievalpoc will be featuring Contemporary Art and Artists of color influenced by European Art History. Medieval, Renaissance, Baroque, Rococo, Mannerist, Classical, Ancient, Fantasy, Early Modern, you name it, it’ll be here! Everything from oil on canvas to performance art.
Also featured will be topical essays exploring our ideas about anachronisms, cultural exchange and appropriation, the use of particular palettes to invoke associations with historical works, Fantasy and Fan Art, character design, RPGs, Art and Identity, and the policing of self-expression in popular culture.
Comme des Garçons Fall 2014 Ready to Wear - ‘Monster’
“It’s not about the typical monster you find in sci-fi and video games. It’s more about the craziness of humanity, the fear we all have, the feeling of going beyond common sense, the absence of ordinariness, expressed by something extremely big, by something that could be ugly or beautiful.” - Rei Kawakubo