_2017 holiday greetings_Iceland. Magical. Light and color in an instant. Arctic-scapes reflect volcanic flow. Old Norse descendants revel in tales of ancient times.
_Moscow on a cool and rainy May afternoon.
Passerbys are treated to imagery along a route_an unusual setting to view the arts.
_Judaica and bridal gowns at Israel’s Jaffa shuk. Take a leisurely lunch at a cafe nearby.
_A Sunday outing in Argentina’s Feria de San Telmo. Visitors and local alike soak up the atmosphere and tango to the beat of Buenos Aires.
linocut print in gold and burnt sienna with gold pigment dusted over
© Genu Berlo
Screenprint on off-white wove paper
23 x 31 inches
Edition of 300, signed
Barnett Newman declared that black and white were the colors that an artist used when he wanted to reinvent his work. In the case of Hantaï, each of these three paintings addresses and reinvents one of the fundamental concerns of visual art: the theme of figure and ground. In the Meun painting of 1968, we are confronted with an abstract figure set against a ground. With the Study of 1969, a late example of the series in which the artist declared that he had discovered “what my true subject is: the resurgence of the ground beneath my feet”, we find that this figure has floated free and that the ground has established its own autonomy. Finally, in the late Left-Over Tabula, we find that figure and ground are no longer conceived as divided, contrasting entities but are rather fused into an enigmatic new presence. Viewed together, and set against the tendencies of modern and contemporary art in the post-World War Two era, these three paintings reveal the extraordinary depth and complexity of the artist’s aesthetic inquiry. …
In 2003, Thomas Ruff published a photographic collection of "Nudes" with a text by the French author Michel Houellebecq. Ruff's images here are based on Internet pornography, which was digitally processed and obscured without any camera or traditional photographic device. In 2009, the aperture Foundation in New York published jpegs, a large-scale book dedicated exclusively to his monumental series of pixelated enlargements of internet-culled images, all compressed using the standard JPEG format which intentionally uses JPEG artifacts. His Substrat series, based on images from Japanese manga and anime cartoons, continued this exploration of digitally altered Web-based pictures. However, he alters and manipulates the source material such that the work becomes an abstraction of forms and colors with no visual memory of the original source material. On February 7, 2011, one of his Nudes pictures appeared on the cover of New York Magazine.
Inspired by Hanami, the Japanese cherry blossom festival celebrating the blossom that fades away after a brief moment of incredible beauty, Antonio Paredes's softly blurred photo series stages model Anabel playing the role of a fragile western Geisha. Stylist Jeanne Dekonink does a brilliant job adding modern and floral details.
I work with drawing and memory. Drawing is for me the most direct path towards a possible image. Memory is not the subject but the medium and drawing is a conscious choice of a medium beyond mediums, a language that has the advantage of keeping a safe distance from the norms of the art world. It is a continuous and open research that eludes conclusion. It is a process that leaves a trace. It is the trace of a thinking process and the image is its proof. The speed at which I think and observe is also the speed at which I draw. The mark, the path and the image belong to this visible process of constructing meaning. It is an imprecise and uncertain route meant to change, consolidate or contradict our views. It is a landscape of shifting geography where historical, political and personal elements hover relentlessly while searching for a state of balance.
Lucrez cu desenul și memoria. Desenul este pentru mine cel mai direct traseu către imagine. Memoria nu este subiectul, ci mediul, iar desenul reprezintă o alegere conștientă a unui mediu dincolo de medii, un limbaj care reușește să țină la distanță normele lumii artistice. Este o cercetare continuă și deschisă care eludează concluziile. Desenul este un proces care lasă urme, urme ale procesului de gândire, iar imaginea este proba. Durata petrecută gândind și observând este și durata petrecută desenând. Urma, traseul și imaginea aparțin acestui proces vizibilal construcției sensului. Este o cale nesigură și imprecisă menită să schimbe, să consolideze sau să contrazică ceea ce cunoaștem. Este peisajul unei geografii schimbătoare unde elementele istorice, politice și personale orbitează fără întrerupere în căutarea unei stări de echilibru.