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    Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings

    Detail of “Brighid” (2024), oil on canvas, 100 x 130 centimeters. All images courtesy of Andrew McIntosh, shared with permission

    Mysterious Orbs Illuminate Deserted Landscapes in Andrew McIntosh’s New Paintings

    September 25, 2024

    Art

    Grace Ebert

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    Nested in rusted caravans or hovering above vast landscapes, small glowing orbs reminiscent of the sun, stars, and otherworldly technologies populate Andrew McIntosh’s latest body of work.

    On view with James Freeman Gallery for the British Art Fair, The Calling conjures McIntosh’s interest in mystery and magic. The London-based Scottish artist often evokes the lush, dramatic landscapes of Romantic paintings, which he recasts with a supernatural bent.

    “Étaín” (2024), oil on canvas, 170 x 130 centimeters

    Pieces like “Étaín” and “Brighid” recall McIntosh’s earlier works that tuck entrancing portals into travel trailers, a symbol of the adventurous spirit. These newer paintings similarly position wide ocean views inside the mobile homes, contrasting the immense scale of the sea with the tiny confines of the caravan.

    The Calling also steps back to take a broad look at natural wonders. Expansive landforms like the St. Kilda archipelago in Scotland and Mount Everest are veiled in a hazy wash of oranges and pinks, and the illuminated orbs float along their edges.

    These works explore “how the wilderness worldwide, such as the mountain faces of Everest and K2, has the power to act as host for the inexplicable and the mysterious,” McIntosh shares, adding that they “speak to (a) need to engage with something greater, something beyond our physical substance.”

    The Calling is on view from September 26 to 29. Find more from McIntosh on his website and Instagram.

    “Plate II: Suilven” (2024), oil on canvas, 110 x 130 centimeters

    “St Kilda Lights” (2024), oil on board, 42 x 23 centimeters

    “Brighid” (2024), oil on canvas, 100 x 130 centimeters

    “Everest Lights” (2024), oil on linen, 35 x 40 centimeters

    “St Kilda Caves” (2024), oil on linen,53 x 33 centimeters

    “Meant to climb” (2024), oil on linen, 50 x 30 centimeters

    “Odyssey” (2024), oil on canvas, 100 x 130 centimeters

    “K2 Lights” (2024), oil on linen, 35 x 40 centimeters

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    An Ancient Peruvian Site Reveals a Remarkable Painted Throne Room

    All images courtesy of the Denver Museum of Nature & Science, shared with permission

    An Ancient Peruvian Site Reveals a Remarkable Painted Throne Room

    September 25, 2024

    Art History Science

    Kate Mothes

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    Between about 350 and 850 C.E., a society known as the Moche thrived in the coastal valleys of northern Peru. Pañamarca, in the Nepeña Valley, is the southernmost center of the Moche culture and the site of a remarkable series of recent archaeological discoveries, including the latest: a monumental pillared hall with vibrantly painted walls.

    The Archaeological Landscapes of Pañamarca, founded in 2018, is a collaboration between Peruvian and U.S. archaeologists, art historians, and conservators. Its research and digs are supported by the National Geographic Society, the Institute of Latin American Studies at Columbia University, and the Avenir Conservation Center at the Denver Museum of Nature & Science.

    This year, archaeologists uncovered a pillared room containing evidence of its use by a high-status female leader. Scenes depict the powerful woman receiving visitors in procession or seated upon a throne.

    “Scholars will debate whether the woman painted on the walls of the throne room is human or mythical (a priestess, goddess, or queen),” researchers say. “But the physical evidence of the throne, including the erosion to its back support and the recovery of greenstone beads, fine threads, and even human hair, make clear that it was occupied by a real living person—and the evidence all points to a seventh-century woman leader of Pañamarca.”

    The figure portrayed on the walls is associated with the crescent moon, the sea and its creatures, and the fiber arts. Additional murals uncovered this past July reveal a scene of an entire workshop of women spinning and weaving, along with a retinue of men carrying textiles and the leader’s crown—which includes her braids.

    Lisa Trever, professor of art history at Columbia University, says, “Pañamarca continues to surprise us, not only for the ceaseless creativity of its painters but also because their works are overturning our expectations of gender roles in the ancient Moche world.”

    The colorful wall paintings of Pañamarca were first recorded in the 1950s, depicting battles between supernatural beings, priests, warriors in procession, a unique two-faced man, and ceremonial activities.

    “Moche archaeology is well known for its rich, elite tombs, impressive architecture and artworks, and elaborate religious artifacts and imagery,” says a project statement. Atop a granite hill, the site consists of a stepped adobe platform, two lower platforms, a walled plaza, and a number of other structures.

    Dig deeper on the Pañamarca project’s website and Instagram.

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    David Antonio Cruz Celebrates Queer Love with Joy and Opulence

    “iknowyou’vebeenwonderingwherei’vebeen:adrift,adraft,astare,atilt,asigh,exhale.but,icamebacktoletyouknow,gotathingforyou,andican’letitgo_ the raft.” (2024), oil, acrylic, and ink on wood panel, 72 x 96 x 2 inches. All photos by Bob, courtesy of the artist and Monique Meloche Gallery, shared with permission

    David Antonio Cruz Celebrates Queer Love with Joy and Opulence

    September 24, 2024

    Art

    Grace Ebert

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    In chosenfamily, David Antonio Cruz celebrates the bonds between people who have decided they will love each other unconditionally, no biological relationship required.

    He paints lavish portraits of queer people of color dressed in vibrant, patterned gowns, strings of pearls, sequin tops, and chic, boldly framed glasses. Depicted embracing, lounging, and often piled atop one another in a monumental mass, the figures are at ease and appear to unite as one.

    Detail of “icamebackthefollowingnightandwalkedthegoundslookingforyou,wegotturnedawayonthesecondnight,buticamebackagainandagain,andagain_ the mound.” (2024), oil and acrylic on wood panel, 72 x 98 1/2 x 2 inches

    Emerging during COVID-induced isolation, Cruz’s chosenfamily series is set at home. Victorian-era sofas cradle the subjects, whose individual bodies dangle over the wooden frames and drape across one another. The most recent additions to the series reflect on what it means to feel at home. Stretching up to eight feet wide, these immense paintings are on view through October 26 in the artist’s solo show come close, like before at Monique Meloche Gallery.

    When the artist prepares to make a portrait, he might first host a dinner party or intimate gathering to form bonds between the future sitters and foster a trusting community. What follows is an elaborate photoshoot during which the subjects are encouraged to dramatize.

    “The way you pose for me isn’t just sitting, there’s this sense of dripping, of leaning; we’re performing and being extra, and for me that’s the radical part, that’s the joy of being non-conforming and not falling into rules,” he said in an interview.

    come close, like before is also a response to the relationship between Spain and Puerto Rico, the latter of which Cruz has ancestral ties. Referencing maritime painting traditions and Théodore Géricault’s precarious scene in “Raft of the Medusa,” in particular, the artist questions the enduring, colonial implications of the ocean and the uncertainties associated with homemaking. Through paintings filled with love and unbreakable bonds, he subverts the seafaring genre by planting his subjects on firm footing, their sights set on a hopeful future.

    In addition to Cruz’s show in Chicago, New Yorkers can find the artist’s exhibition when the children come home through February 16, 2025, at Sugar Hill Children’s Museum of Art & Storytelling. Visit Instagram for more.

    Detail of “iknowyou’vebeenwonderingwherei’vebeen:adrift,adraft,astare,atilt,asigh,exhale.but,icamebacktoletyouknow,gotathingforyou,andican’letitgo_ the raft.” (2024), oil, acrylic, and ink on wood panel, 72 x 96 x 2 inches

    “icamebackthefollowingnightandwalkedthegoundslookingforyou,wegotturnedawayonthesecondnight,buticamebackagainandagain,andagain_ the mound.” (2024), oil and acrylic on wood panel, 72 x 98 1/2 x 2 inches

    “isaiditoncebefore,butnowIfeelitevenmore_feelin’pretty,pretty,pretty” (2023), oil and acrylic on wood panel with aluminum backing, 72 x 60 inches

    “Icouldn’tcallitbynamebefore,butmaybe it’sbeentheresinceIfirstknew” (2024), oil and latex on wood panel, 36 x 36 x 2 inches

    Detail of “Icouldn’tcallitbynamebefore,butmaybe it’sbeentheresinceIfirstknew” (2024), oil and latex on wood panel, 36 x 36 x 2 inches

    “ilovedeveryoneofthem” (2022), oil, acrylic, and ink on wood panel, 72 x 60 inches

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    Josh Gluckstein Crafts a Teeming Reef from Recycled Cardboard

    “Reef.” Photo by Alexandre Vazquez, © Michelangelo Foundation. All images courtesy of Josh Gluckstein, shared with permission

    Josh Gluckstein Crafts a Teeming Reef from Recycled Cardboard

    September 24, 2024

    Art Nature

    Kate Mothes

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    For the past four years, London-based artist Josh Gluckstein has highlighted the potential of an everyday material—recycled cardboard—to bring animal sculptures to life (previously). In his most recent piece, “Reef,” he expands on individual portraits to create a meticulously detailed two-and-a-half-meter-tall marine habitat teeming with a variety of fish and coral.

    “I fell in love with scuba diving ten years ago and was amazed that there was an entirely new world to discover underwater,” Gluckstein says. “I wanted to bring that experience to life on dry land.”

    Photo by Alexandre Vazquez, © Michelangelo Foundation

    Gluckstein was invited to participate in Homo Faber 2024 in Venice, which this year traces the theme, “The Journey of Life.” Among the work of more than 400 artisans from around the world, “Reef” is Gluckstein’s most ambitious piece to date, featuring more than 50 different marine species.

    Sea turtles, an octopus, clown fish, and a blue spotted ray are among the creatures that swim around a column of coral. “The piece celebrates the wonder and rich biodiversity of our oceans, while raising awareness for the fragility of—and challenges facing—our marine life,” Gluckstein says.

    Homo Faber 2024 continues through September 30. Find more on the artist’s website and Instagram.

    You might also enjoy Ghost Net Collective’s marine animal sculptures made from the salvaged ocean waste that endangers them.

    Photo by Alexandre Vazquez, © Michelangelo Foundation

    Photo by Alexandre Vazquez, © Michelangelo Foundation

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    Step Into Beguiling Bygone Eras in Jeff Bartels’s ‘Urban Glitch’ Series

    “Urban Glitch 1983,” oil on linen. All images courtesy of the artist, shared with permission

    Step Into Beguiling Bygone Eras in Jeff Bartels’s ‘Urban Glitch’ Series

    September 23, 2024

    Art History

    Kate Mothes

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    Around the time he turned 50, Jeff Bartels (previously) found himself thinking more and more about memory and nostalgia. “It occurred to me that I could remember certain things from my past exactly, while other memories were mixed up or even wrong,” he tells Colossal. “So I decided to explore that confusion.”

    Bartels’s ongoing series Urban Glitch consists of five paintings so far, each focusing on different years from the recent past, ranging from 1979 to 2001. Each painstakingly detailed composition highlights pop culture of the era, from the latest cars and products to pastimes, music, and fashion.

    Detail of “Urban Glitch 1983”

    The imaginary buildings stack on top of one another and connect via bridges, platforms, and staircases reminiscent of M.C. Escher’s mathematically puzzling architecture.

    Locked in time and space, as if the scenes are “glitching,” Bartels’s thriving urban hubs invoke the sights and sounds of bygone eras. People peer into their fridges, walk their dogs, play games at the arcade, and view paintings by Jean-Michel Basquiat or Damien Hirst’s seminal 1991 work of a tiger shark preserved in a tank.

    The artist employs 3D modeling software to create references for each painting rather than photographic sources, so “there is a lot of work done on my computer before I even pick up a brush and being the painting,” he says. “This way, I can create realistic-looking scenes that could not exist in the real world.”

    Each piece takes hundreds of hours to complete due to the meticulous process of defining each building, figure, and tiny, stage-like scene. The artist estimates “1983” took about 850 hours altogether, and while the time commitment alone makes it “easy to burn out on them…” he says, “I do plan on continuing the series with at least a few more.”

    Find more on Bartels’s website and Instagram.

    “Urban Glitch 1985,” oil on linen, 30 x 30 inches

    Detail of “Urban Glitch 1985”

    “Urban Glitch 1979,” oil on linen, 30 x 30 inches

    Detail of “Urban Glitch 1979”

    Detail of “Urban Glitch 1979”

    “Urban Glitch 1991,” oil on linen, 30 x 30 inches

    Detail of “Urban Glitch 1983”

    “Urban Glitch 2001,” oil on linen, 30 x 30 inches

    Detail of “Urban Glitch 2001”

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    Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival

    “A Lasting Place” (2024), London. Photo by Jose Delu. All courtesy of London Mural Festival, shared with permission

    Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival

    September 21, 2024

    Art

    Kate Mothes

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    Drawing from photographs of landscapes and cinematic portraits, Sebas Velasco’s murals and paintings boldly capture people and places. For the 2024 London Mural Festival, the artist has unveiled a large-scale portrayal of a local resident of Brixton, where the piece was recently installed on the end of a residential building.

    Shown waiting for the Brixton train line, the young man in Velasco’s painting leans back against a concrete railing and looks off to the side, illuminated by the station’s lights, which also glow in the background. Titled “A Lasting Place,” Velasco taps into a sense of time slowing down, contemplation, and ease.

    Photo by Jose Delu

    Velasco revels in the process of exploring and learning about the places where he develops his public art pieces. The compositions emerge organically as he immerses himself in the local environment and meets people who live in the area.

    Along with his long-time collaborator Jose Delu, who assists with creating highly contrasted, vibrant photographs, Velasco draws on conversations and experiences in each place in order to reveal something of its spirit through his work. He often addresses the idea of connection, which is also the theme of this year’s festival.

    If you’re in London, you can explore more than 100 murals through September 29 as part of the event, including pieces familiar to Colossal readers like Marija Tiurina. New installations this year have been created by Aches Elseed, BAPE, D*Face, Betz Etam, Anna Ovney, and more.

    Find a map on the festival’s website, and to dig further into Velasco’s work, check out his website and Instagram.

    Wedo Goas, 39 Lee Church St

    Bezt Etam, Roundwood Estate

    Liam Bononi, 125 South Lambeth Rd

    Zoe Power, Jo Hicks, and Vanessa Scott, Canary Wharf

    BAPE x D*Face collaboration

    Sophie Mess, The Stage, Shoreditch

    Anna Ovney, Leadenhall Building, City of London

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    OSGEMEOS Unearths Their Fantastic Childhood Universe in Their Largest U.S. Exhibition to Date

    Installation view of “Untitled (92 Speakers)” (2019), “Gramophone” (2016), and “1983 – THE BOOMBOX” (2017). Photo by Rick Coulby. All images © OSGEMEOS, shared with permission

    OSGEMEOS Unearths Their Fantastic Childhood Universe in Their Largest U.S. Exhibition to Date

    September 20, 2024

    Art

    Grace Ebert

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    As children in São Paulo, twin brothers Gustavo and Otavio Pandolfo invented a universe they called Tritrez. The mystical place was home to myriad yellow figures with bulbous heads and lanky bodies and promoted strange, yet friendly, behavior.

    “Yellow has been a very spiritual color for us since we started drawing,” the pair told their gallery, Lehmann Maupin. “When we were drawing at our mother’s house, the sun would come through the windows, and the studio would become yellow. So we always found it mystical, peaceful, and harmonious.” 

    Installation view of OSGEMEOS, “Chuva de verão (Summer Rain)” (2008), “O abduzido (The Abductee)” (2020), “The Garden” (2020), and “The Sunset” (2019). Photo by Rick Coulby

    Operating largely as one with shared dreams and the uncanny ability to finish each others’ thoughts, the brothers work as OSGEMEOS (previously), which translates to “the twins” in Portuguese. Rooted in graffiti and street art, their works will be on view at the Smithsonian’s Hirshhorn Museum and Sculpture Garden later this month for their largest U.S. exhibition to date.

    Comprising 1,000 paintings, sculptures, photos, and archival objects, OSGEMEOS: Endless Story traces the brothers’ creative evolution, recreating details from their childhood bedrooms and the infrastructure and walls they painted murals on in their youth. Rarely seen sketches and early influences like their mother’s embroideries are on view alongside many pieces never shown outside their native Brazil.

    Hip-hop and breakdancing feature prominently in OSGEMEOS’ work, including in the sprawling installation “Untitled (92 Speakers).” Yellow and brown faces peer out from boxy speakers and congregate together on a pastel pink wall. A symmetric gramophone and boombox painted similarly stand on the gallery floor below and reference the artists’ enduring interest in music and its influence on culture.

    Other works lean further into the sci-fi and supernatural realms. Standing at the center of one gallery is a tall, prismatic sculpture, which depicts one of their signature figures encircled by an alien beam projecting from a flying saucer. Likewise, the 2014 painting “Tritez” unearths the more fantastical details of the imagined realm: a blue patchwork whale cradling buildings on its back flies through the sky, two siren-like characters dance in the moonlight, and a trio of figures clamber on top of one another in colorful bizarre clothing.

    “Tritrez” (2014), spray paint and sequins on wood. Photo by Rick Coulby

    “Tritrez for us is our soul. It’s our, let’s say, parallel world that we believe (lives) inside of us,” they say in a video. “We believe that everybody (has) some kind of Tritrez inside. But sometimes you forget to see and sometimes you are afraid to see.”

    The first monograph of OSGEMEOS’ work written in English accompanies the exhibition, which runs from September 29, 2024, to August 3, 2025, in Washington, D.C. There’s much more on the brothers’ Instagram, so head there to dive deeper into their whimsical world.

    Detail of installation view of “Untitled (92 Speakers)” (2019), “Gramophone” (2016), and “1983 – THE BOOMBOX” (2017). Photo by Rick Coulby

    “1980” (2020), mixed media with
    sequins on MDF, 86 1/4 × 125 9/16 × 2 inches

    “Retratos (Portraits)” (2023–2024), mixed media on MDF. Photo by Rick Coulby

    Detail of “Retratos (Portraits)” (2023–2024), mixed media on MDF. Photo by Rick Coulby

    “O dia da festa de break (The
    Breakdancing Party’s Day)” (2016), mixed media on panel, 80 5/16 × 64 9/16× 7 7/8 inches.
    (204 × 164 × 20 cm). Photo by Max Yawney

    Detail of an installation view of ‘OSGEMEOS: Endless Story.’ Photo by Rick Coulby

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    David Moreno’s Anthropomorphic Foundations Support Cascading Villages

    Detail of “Construcción en cabeza—Cabeza en construcción.” All images courtesy of the artist, shared with permission

    David Moreno’s Anthropomorphic Foundations Support Cascading Villages

    September 19, 2024

    Art

    Kate Mothes

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    From thin rods of steel, Barcelona-based artist David Moreno (previously) constructs towering houses and cascading villages that reflect the architecture of our lives. He often incorporates anthropomorphic, anatomical elements, suggesting skeletons or beating hearts.

    For example, “Construcción en cabeza—Cabeza en construcción,” which translates to “head construction—head under construction,” a hillside-like foundation takes the form of a face. And “Resumen 2020,” meaning “Summary 2020,” is a response to the COVID-19 pandemic, assuming the silhouette of a human skull.

    “Resumen 2020”

    Moreno’s sculptures alternate between rigidity and fluidity as he manipulates the thick wire into solid walls or curving arcs, such as in “La vie en rose.” Balanced carefully on columns of scaffolding, gabled structures cling somewhat precariously to their supports, referencing the sprawling, stacked hillside favelas like those in Rio de Janeiro.

    The artist is currently conceptualizing a new three-meter-wide installation for an architecture firm in Miami, and he has been scaling down his larger sculptures into gold and silver pendant designs. Check out more of Moreno’s work on Behance, and follow updates on Instagram.

    “Los Del Extrarradio”

    “Construcción en cabeza—Cabeza en construcción”

    “El dorado en expansion II”

    “Vanitas”

    “La vie en rose”

    “Conexion de catedral II”

    “Melodía Circular”

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