I know it’s not 1800s week, but this gentleman is currently on display at the Newport Antiques Show in Newport, RI and I didn’t want to forget about him or his fabulous eyebrows by the time 1800s week happened.
Thomas Howland was a resident of Providence, Rhode Island who worked as a stevedore and became the first black elected official in the city when he was elected warden of Providence’s Third Ward. He was denied a passport on the basis that he was a person of “African extraction” and thus “not deemed [a citizen] of the United States” - again, this man was an elected official, in addition to being a citizen with voting rights. In 1857, he and his wife and daughter left Providence for Liberia where his wife became a teacher and Howland worked as a sugar manufacturer.
That is really cool! I’m going to post this (even though it’s actually an American painting), since this painting’s going to be on display this weekend at the Newport Antiques Show, in case anyone wants to go see it in person!
Lover’s Eyes, ca. 1840. American. Watercolor on ivory. The Metropolitan Museum of Art, New York, Dale T. Johnson Fund
This installation of works from the permanent collection was organized by the New York–based artist Piotr Uklański (born Poland, 1968), whose photographs are on view in the current exhibition Fatal Attraction: Piotr Uklański Photographs.
Remember to join us this Thursday, January 16, from 6 to 8 p.m. for an opening reception with the Artist. “Between the Fragments” will be on view through February 15.
Denzler’s new paintings unite the precision and nostalgia of realism with the bold dynamism and pulsating energy of gestural abstraction. Creating mysterious, eerie and sometimes uncomfortable moments, the Artist invites the viewer into his private, voyeuristic world. Known for his signature style of thick horizontal bands of pigment traversing the canvas in thick choppy abstract strips - staccato points that add visual energy and suggest details lost in the fog of memory, time and space.
Location: The Whitney Museum of American Art - New York City
Sherrie Levine (b. 1947) has transformed and re-contextualized images and objects in her work since the late 1970s, often presenting them as installations that provide a compelling sense of context. This exhibition, developed as a project by the artist, includes works ranging from well-known photographs, such as After Walker Evans: 1-22, 1981, to recent sculptures, such as Crystal Skull: 1-12, 2010. The exhibition, conceived by the artist as offering constellations of older and newer works, will provide juxtapositions that provoke new associations and responses. The installation will also emphasize the powerfully seductive, tactile nature of Levine’s art, and the complex layers of reference and meaning that unfold between the ostensible sources and Levine’s own work.
Here is Ovilu Tunnillie’s stone carving Ovilu in Bed (TB Patient).
There are few more tragic consequences of contact between Inuit and outsiders than the epidemic of tuberculosis that spread throughout the North in the 1950s and early 1960s. No community was spared. This work deals with Ovilu’s personal experience, as she recalls being strapped to her bed in the hospital ward, poignantly conveying the confusion and terror that many Inuit patients experienced.
In 1955, Ovilu was taken south for treatment on the federal government’s supply ship, the C.D. Howe, for the first time. She spent the next four years in sanatoria in southern Canada. When she finally returned home she had a hard time adjusting because she couldn’t understand the Inuit ways or language. She said: “It was like I had just met my family for the first time.”
Many Inuit of the eastern Arctic were sent to Mountain Sanatorium in Hamilton, Ontario; in 1956 there were 332 Inuit patients there. Many never returned home, and in 1995 a memorial was erected in the Woodland Cemetery in Hamilton to commemorate the Inuit who died at the sanatorium and were buried anonymously there.
The oil paintings of Joshua Flint look
like depictions of memories when one tries too hard to access the faded
thoughts—worn corners, blurred faces, and transposed scenes that don’t
quite make sense. Each work has a familiar element that seems to be cast
in a dark and foreboding haze like Sandcastles, a dark
painting that disguises whether the included children are building or
destroying the miniature city that lies before them.“There is a dynamic interplay between experience and interpretation,”
says Flint about his work. “What is remembered isn’t necessarily
descriptive of the actual event. Once the experience has passed through
our emotional filter we assign meaning to it, changing the actualities.
My paintings explore that place in-between a direct translation and the
abstract of emotion.”
Flint has a current exhibition titled “The World Between” at Sumter County Gallery of Art
in Sumter, South Carolina which continues until January 8, 2016. You
can see more of his oil paintings and in-process sketches on his
Helena Hauss grew up in the heart of Paris. Having always had an artistic personality, Hauss had a tendency to live in her imagination, and this is where she discovered her unique way of communicating her thoughts; with a bic pen. Hauss spent most of her days working on new ways of using this unlikely weapon of choice. Through constant use and practice, we can see a tender relationship between Hauss and her materials with surprising results.
Helena Hauss is currently showing in our WORKS ON PAPER exhibition at the Brick Lane Gallery until 16th March 2014. The WORKS ON PAPER exhibition programme is open to all artists from all over the world. To take part in any future exhibitions please contact email@example.com
Another interactive mechanical mirror from Daniel Rozin from his current exhibition at the bitforms gallery in New York - a congregation of soft toy penguins that turn in formation when approached:
“Penguins Mirror” is an installation scattered on the floor and
comprised of 450 motorized stuffed animals. Reductive in palette, yet
baroque in behavior, it performs an absurdly homogeneous system of
movement. Playing with the compositional possibilities of black and
white, each penguin turns from side to side and responds to the presence
of an audience. As they perform, the penguins’ collective intelligence
is puzzling, yet somehow familiar, as the plush toys enact a precise
choreography rooted in geometry.
Frissiras Museum presents at 3, Monis Asteriou str, Plaka, a retrospective exhibition of 40 works by the contemporary Spanish painter Dino Valls entitled “Dino Valls: A journey through Spanish magic realism”. Dino Valls’ painting is primarily characterized by the way in which he manages to manipulate the concept of time, whether it is historical (real) or fictional, contributing in the deeply personal character of his work. Nevertheless, what trully captivates the viewer is his gripping realism whose disturbing veracity transcends the limits of reality and ends up utterly fictitious. Astonishingly, this is a painting entirely made in the studio, full of riddles and symbols, an intellectual in vivo achievement that avoids inspiration from reality, it does not emerge from its close observation. Surely, Dino Valls is deeply interested in depicting the psychological state of his subjects, however in order to realize that he makes use an exhaustively detailed, almost anatomic, depiction of human body, looking back at Flemish painting which he manages to reinterpret in a deeply personal way.
Andy Denzler - Cora II, 2013
Andy Denzler “says that his way of painting is influenced by the media and explains that his works are marked by the memories of a media world in which black and white TV still reigned supreme and it was, in terrestrial transmission, a matter of course that there were also image disturbances. Or the first moving images from the moon: The lack of image quality which seemingly or really also had to do with the distance over which the transmission took place. Wasn’t it that these vague and blurred images fired our imagination (and spurred wild conspiracy theories, too) and created images beyond those seen? In Eastern Germany many Western radio stations could only be received on the medium wave band, and they had as many disturbances as the TV channels one could receive more rough than ready employing dubious means. Sender and receiver had to make a compromise. Direction and distance were decisive benchmarks of transmission.”
- “Andy Denzler Creates a Captivating, Desolate Narrative,” Eyes In
One of the wonders of Kongo: Power and Majesty,
on view through January 3, 2016, is the group of luxury textiles finely
woven from golden palm fiber, then hand-cut and rubbed in the weaver’s
hands. The result is a rich interplay of tone and texture that reminded
me at first of aerial views of crop circles cut into fields of ripening
The textiles, however, are far more complex as virtuoso pieces. Their
making was described with admiration by Antonio Zuchelli (1663–1716),
an Italian missionary to the Kongo. He notes how the local weavers
finished their cloth “with a knife they cut the cloth in the proper
spots and rub it well with their hands, so that it looks like patterned
[Luxury Cloth: Cushion Cover,
16th–17th century, inventoried 1674. Kongo peoples; Kongo Kingdom,
Democratic Republic of the Congo, Republic of the Congo, or Angola.
Raffia; 9 x 20 7/8 in. (23 x 53 cm). British Museum, London]
Europeans compared what they saw to luxurious Italian silk
velvets with elaborate woven patterns, but they admired pieces that were
“so beautiful,” in the words of the Portuguese sea captain Duarte
Pacheco Pereira (ca. 1460–1533), “that those made in Italy do not
surpass them in workmanship.” What really surprised them was the way in
which Kongo cloths were woven not from silk but from raffia, which made
them miraculously soft to the touch. The designs were less often a
source of comment, although in 1656, John Tradescant the Younger
(1608–1662) described a cloth in his museum in Lambeth—now in the Pitt Rivers in Oxford—as “A Table-cloath of grass very curiously waved.”
[C.F. (Cesare Fiore; Italian, 1636–1702). Luxury Cloth: Cushion Cover in the Catalogo del Museo Settala, mid-seventeenth century. Watercolor. Biblioteca Estense Universitaria, Modena (vol. 1, ms. 17)]
From Stockholm to Florence, London to Prague, Kongo luxury cloths
were preserved in court and cabinet collections formed by rulers,
princes, and urban elites. The first two recorded examples appear in
Prague in 1607—in the Kunstkammer of the Holy Roman Emperor
Rudolf II of Prague (r. 1576–1612), where they remain today—but the
royal houses of Sweden and Denmark swiftly followed.
Kongo cloths are also recorded in the seventeenth century as prize
pieces acquired by doctors, scientists, and scholars. The Milanese
physician Ludovico Settala (1552–1633) and his son Manfredo (1600–1680)
formed one of Italy’s most famous scientific museums, which included
several examples. There is a drawing of a folded one, annotated as “a
small mat to make a cushion to sit on, made of straw of rare beauty…made
in Angola or Congo.” Settala’s scholarly network included the Jesuit
scholar Athanasius Kircher (1602–1680), founding director of the the
Musaeum Kircherianum in Rome, who acquired pieces described in 1709 as
“four mats made with admirable skill in the Kingdom of Angola….they look
like a silk cloth notwithstanding they are made of very thin palm
Did you know? Irwin’s Snapping Turtles species was first discovered by Steve Irwin, the late Crocodile Hunter, and his father, Bob Irwin, in the early 1990s. The National Aquarium has successfully reproduced Irwin’s snapping turtle. Two of these turtles hatched here in 2006 and are currently on exhibit. http://ow.ly/Gxs7k
This is my dramatic redesign of Meg, one of the Poe sisters in Zelda: Ocarina of Time. Finally getting around to posting this illustration for the Boss Rush exhibit currently showing at Light Grey Art Lab. I’m honored to announce that it was one of ten pieces selected to premier at Glitchcon next week!