ABBOUD, Jumana Emil
ABONNENC, Mathieu Kleyebe
AL SOLH, Mounira
ALGÜN RINGBORG, Meriç
ALLORA, Jennifer & CALZADILLA, Guillermo
CALHOUN, Keith & McCORMICK, Chandra
COOPERATIVA CRÁTER INVERTIDO
CREATIVE TIME SUMMIT
EHMANN, Antje & FAROCKI, Harun
HADJITHOMAS, Joana & JOREIGE, Khalil
HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon
INVISIBLE BORDERS: Trans-African Photographers
KNGWARREYE, Emily Kame
LEBER, Sonia & CHESWORTH, David
MANSARAY, Abu Bakarr
MARSHALL, Kerry James
RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata)
SENGHOR, Fatou Kandé
SHETTY, Prasad & GUPTE, Rupali
THE PROPELLER GROUP
BY Chloe Wyma
‘Since the mid-aughts, Kehinde Wiley has achieved Napoleonic fame for his monumental paintings depicting young men of color in contemporary streetwear in poses derived from European courtly portraiture. By unseating the saints and noblemen of Rubens, Fragonard, and Velazquez and replacing them with handsome, anonymous young men cast from the streets of Brooklyn, Dakkar, and Beijing, Wiley — curator Eugenie Tsai writes in her introductory catalog essay for the artist’s mid-career survey at the Brooklyn Museum — “subverts canonical art history” by making visible its erasure of black bodies. Nevertheless, the exhibition, titled “A New Republic,” feels more safe than subversive. The agglomeration of Wiley’s neo-baroque portraits of young black dandies posing against botanical filigrees doesn’t disturb our way of seeing the world so much as feed our contemporary taste for promiscuous juxtaposition and nobrow pastiche.’
I have often considered doing this with old art, new people. This guy Kehinde is definitely worth a look into I think. Well crafted painting is becoming a rarity, hopefully it won’t become fully extinct while we have new generations continuing with the old masters technical ability.
The BADA Antiques & Fine Art Fair, the showcase for members of the British Antique Dealers’ Association, returns with 98 of the UK’s top specialists in fine and decorative arts showcasing a wide variety of covetable items from the antique to the contemporary, all vetted to ensure quality and authenticity.
New participants for 2015 include Beaux Arts London, Philip Mould & Company, Michael Hughes, Peter Lipitch Ltd., and Ted Few, which will join returning exhibitors such as Godson & Coles, Harris Lindsay, Thomas Coulborn & Sons, Frank Partridge, Trinity House, The Taylor Gallery, and Holly Johnson Antiques.
Highlights of the fair include an elegant Art Deco coral and diamond brooch from John Joseph Antique Jewellery; a rare English George I period scarlet japanned bureau cabinet, attributed to John Belchier and Daniel Massey, from Godson & Coles; and Elisabeth Frink’s 1963 bronze sculpture Assassins II from Beaux Arts London.
BADA Antiques & Fine Art Fair runs from March 18 through 24 at the Duke of York
The much-anticipated new commission for Trafalgar Square’s Fourth Plinth, “Gift Horse” by Cologne-based artist Hans Haacke, has been unveiled by the Mayor of London, Boris Johnson. “Gift Horse” is the tenth sculpture to be unveiled as part of the Fourth Plinth Programme which invites world-class artists to make wonderful new works for the centre of the capital city.
Haacke’s “Gift Horse” is a sculpture of a skeleton of a horse with an electronic ribbon displaying a live ticker of the London Stock Exchange attached to its front leg, “establishing a link between power, money, and history,” according to the Mayor’s press release. The work is derived from an etching by the famous English painter George Stubbs and is also references a statue of William IV on horseback that was originally planned for the empty plinth in 1841.
The Mayor of London, Boris Johnson said: “As Hans Haacke’s take on the equestrian statue trots into Trafalgar Square, it brings another reason for Londoners and tourists to visit this cultural landmark. Gift Horse is a startlingly original comment on the relationship between art and commerce and I hope it will stimulate as much debate as the other works that have appeared on the Fourth Plinth.”
Ekow Eshun, Chair of the Fourth Plinth Commissioning Group, said: “Hans Haacke’s Gift Horse is an important, arresting sculpture. It asks questions about the role of money and power in modern London. And it marks the Fourth Plinth programme’s continued commitment to bring the work of leading British and international artists to the heart of the city and into dialogue with the public.”
Each day since January 1, 2013, Lorraine Loots has created a painting of minuscule proportions as part of a project entitled, “365 Postcards for Ants.” Each piece of art is no larger than the size of a coin.
Nearly two years’ worth of paintings can be found on Loot’s website and on her personal Tumblr page.
Call For Entries
154th Open Art Exhibition 2015
5th -13th June 2015
at the Mall Galleries nr Admiralty Arch, London, SW1
OPEN TO NON MEMBERS
Online pre-selection 2nd January to 26th March 2015 (Midday)
for further information click here
New Prize: President’s £2000 Award
Click here to submit
The sculptor Constantin Brâncuși was born on this day in 1876 in Romania. I saw this piece in the Met, New York. Sleeping Muse is a beautiful object if for no other reason than it’s shape and lustre. She looks peaceful and meditative. I never thought any more about it until now. I will go and research the reasons/concepts etc. If I think they are pretentious add ons, I will ignore it and just think it a nice piece to look at. Also, I bet it’s heavy (apparently picking these up in the museum is not the thing!).
Brancusi said: “Don’t look for obscure formulas, nor for le mystère. It is pure joy I’m giving you.” and “Command like a king, work like a slave, create like a god.”
Added after research:
No it seems he wasn’t as bullshitty as some of them. Here’s what it says on the Met website re this piece:
The subject of a sleeping head occupied Brancusi for almost twenty years. In conceiving and executing Sleeping Muse, the sculptor eschewed drama and detail in favor of reducing ideas to fundamental forms and simplified details. He rendered the essence of languor in the prostrate position of the head, weighed down by inertia, resting peacefully. This bronze is one of four casts made in 1910 from a marble of the previous year for which Baroness Renée Irana Franchon was the model.