Eliana Willis
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“Good Luck, Kid” by Joe Iurato in Aalborg, Denmark
American muralist Joe Iurato is another artist to join KIRK Gallery’s “Out in the Open 2021” Festival roster. His mural is entitled “Good Luck, Kid” which features his stencils and aerosol illustrative aesthetic.“Because I work with stencils, creating a mural at this scale is well planned out ahead of time and calculated precisely. A lot of the work for it happens in my studio prior to arriving at the wall. After I’ve conceptualized and illustrated the artwork, I need to scale my composition up to actual size and create the templates. The stencils for the mural are cut from sheets of paper that form the individual sections of each layer. Then, when I’m on location, I reassemble them on the wall in tiles, like a puzzle or grid, and spray. This step is done repeatedly, typically 5 or 6 times per mural to give the piece depth and details.When I saw photos of the wall early on, the very first thing that grabbed me was the obvious metal vent that runs the height of it. I love to create site specific works and saw the feature as an opportunity to have my painting interact with its environment. So, rather than try to work around and compete with the pipe, I became very excited with the prospect of working with it. And that became the starting point for the story I wanted to tell” Joe Iurato stated.“A common recurring theme in my work are the wondrous, curious and mischievous adventures of childhood. Things get so serious and difficult as we get older, sometimes I need to step back and away from my present self and revisit a simpler time. Right now, it’s easy for me to achieve because I watch my own children and their friends as they are growing up. They are often the subjects and inspirations for the works. In this case, the kid climbing the building is my youngest son, Maddox. Overstuffed backpack full of essentials and a monocular fashioned of cardboard, he’s off to somewhere. Where? I’ve no idea” the artist said.Joe Iurato is a multidisciplinary artist whose works are built on a foundation of stencils and aerosol. Falling somewhere in between simplistic and photorealistic, his multi-layer stencils offer a distinctly clean and illustrative aesthetic. While Joe’s murals have adorned neighborhoods along the east coast United States for years, he’s also become noted for the unique placement and photography of miniature painted wood cutouts in public spaces.Utilizing the outdoor environment to create site-specific installations, he creates windows into a narrative formed by personal experiences. Each individual work of art highlights the potential for interaction and storytelling within public space and transforms common landscapes into carefully crafted scenes. Before leaving each installation behind, he documents it with a photograph. The photographs offer specific and intentional viewpoints of the artwork in relation to its surroundings, manipulating our perception of scale and dimensionality. More
- in Street Art
“Ekkolokation” by Augustine Kofie in Aalborg, Denmark
Street artist Augustine Kofie, in collaboration with KIRK Gallery, has created a new mural entitled “Ekkolokation” for Out In The Open 2021 Mural Festival. Kofie was first approached by KIRK Gallery to contribute to the festival over a year ago, but due to postponements because of Covid-19. The location for the mural is unique, with its confluence of paths, pedestrian walkways, one-way roads and a train line system all intersecting at the foot of the wall. In planning the mural, Kofie made sure to integrate the architecture of the building and the community as well. “Ekkolokation is an abstract composition that highlights 4 triangular shapes echoing each other near the top of the wall, all shadowing one another, lit up from different angles by varied light sources. They come together like the multiple paths that converge upon the site. Structurally complimenting the angles of the home’s rooftop, the 4 triangles are supported by several transparent level squares, which in turn echo the bottom part of the building.”“Another point of convergence can be found at the foot of the mural, where the lines all seem to bounce downward toward a confluence, a meeting place. Two partial, transparent, circular forms weave through the mural. One acts as a halo around the center of the design, bringing a feminine form to contrast the linear forms, and creating another point of convergence here. The second, smaller circle echoes the larger one, but uses the lower right corner of the wall as its center point, the junction to all of the foot paths of the street” Augustine Kofie explained.“I designed the mural on the basis of these two concepts, echo and convergence, which have visual, sonic, structural and social articulations, allowing the mural to echo and speak to the city and to highlight and amplify this site of convergence” the artist stated.With a deep interest in process and structure, Augustine Kofie creates works of intense detail centering order and tension in both his studio pieces and mural interventions. The precision of Kofie’s “drafted” art is inspired by mechanical drafting and the language of modern architecture and uses the paper detritus of the 20th century as building blocks.In his quest for balance, Kofie harmonizes opposing and contradictory dynamics, setting futuristic compositions against vintage earth-toned palettes and creating technically complex, meticulously structured formations through handmade line-work and layering. Active in the west Los Angeles graffiti scene since the mid-nineties, the artist’s work reflects the influence of the craft of deconstructing lettering, street culture, contemporary music, and 1960s-70s iconography to create a unique language. More
- in Street Art
Mural by Helen Bur in Aberdeen, Scotland
Nuart Festival alumni Helen Bur, was the final artist in residence to add to Nuart’s 2021 run of city-wide mural art in Aberdeen, an antidote to the lack of art-related initiatives taking place during the events of the last 17 months. Bur was commissioned by Nuart to bring her traditionally-influenced, narratively-poetic style to the walls starting in the last week of July. A British-born and currently London-based artist, Bur has made her name in perfecting the mesmerising depth of figurative oil work on canvas, then transferring those techniques to urban settings, using emulsion on a vastly larger scale. As for her subjects, Bur chooses to present figures captured in snapshots of their lives – unexplained moments of oddity and curiosity, sometimes unsettling, others farcical – that focus in on the moment, the reaction to it and a sense of mystery without context. “After the murals I painted of Alice and Hugo there two years ago were demolished, the team kindly invited me back and I thought it was only right to bring back Ally and Hugo, with their new addition, Ruby-Rae! This painting is a tribute to them, their endless kindness, a homage to gentle power and taking up space with softness and femininity” artist Helen Bur stated.Bur’s piece can be found on Union Wynd, and stands tall at over 16 meters high, a mammoth final flourish for Nuart Aberdeen Summer 2021. Check out below for more photos of the mural. Photo credits: Clake Joss Photography More
- in Street Art
Our Towns Brings A Series of New Murals To Basildon
BasildON Creative People & Place initiative recently teamed up with ReFRAMED Productions and the two realized Our Towns, an innovative street art initiative that brought a number of large-scale murals to the streets of Basil-don town center in the past few months. With the initiative’s focus on putting the local community at the heart of driving and delivering diverse and engaging projects, this original concept partnered world-class artists with local organizations in order to create murals inspired by Basildon and reflecting on global issues seen through a local lens. Under the subtitle Our Towns: Climate, this series of murals aims to inspire and encourage conversations around climate, with a monumental art installation influenced by the local ecology and chosen by residents. The entire program was aligned with the Creative Estuary effort to transform 60 miles of the Thames Estuary across South Essex and North Kent into one of the most exciting creative clusters in the world.INSA © Doug GillenUnique in their approach Our Towns coordinated their activity with the residents who choose between ‘people and our behaviors’ or the ‘planet and our impact’ topic. After the voting, ‘planet and our impact’-themed mural was realized by INSA, shining a light on the near-threatened green-winged orchid frequently found in Basildon. The large-scale public work continuing artist’s series of GIF animations of graffiti work aka GIF-ITI, was painted using Graphenstone paints which are free of toxic components, accentuating the environmental focus of the entire undergoing. Meanwhile, the legacy of the concept will revolve around a series of workshops for local youth, as well as the development of Basildon town’s first Voluntary Local Review. VLR will assess and report on a city through the lens of the United Nations Sustainable Development Goals (SDGs), while monitoring progress on social, economic, and environmental factors in partnership with the University of Essex.INSA © Doug GillenIn similar manner, other murals developed over the summer were focused on such locally important and universally recognizable topics such as elderly population, diverse voices to LGBTQIA, and traveling communities,. By completing 8 public art interventions that celebrate difference and commonality the project is hoping. to spark important social and environmental discussion. The full lineup of participating artists include Aches (IRE), Franco Fasoli (ITA), Marina Capdevila (ESP), Erin Holly (UK), Gabriel Pitcher (UK), INSA (UK), Michele Curtis (UK), and Helen Bur (UK).Franco Fasoli © aruallanAches © Doug GillenAches © Doug GillenErin Holly © aruallanGabriel Pitcher © Doug GillenGabriel Pitcher © Doug GillenHelen Bur © aruallanHelen Bur © aruallanINSA © Doug GillenINSA © Doug GillenMarina Capdevila © Doug GillenMichele Curtis © Doug GillenMichele Curtis © Doug GillenMichele Curtis © Doug Gillen More
- in Exhibitions
Organizers of an Unauthorized Banksy Show Will Issue Refunds After Visitors Complain There Aren’t Enough Real Banksys in It
An unauthorized Banksy exhibition in Seoul has come under fire from visitors disappointed that the vast majority of the works on view were reproductions, rather than original works of art by the anonymous British street artist.
“The Art of Banksy: Without Limits“—which is currently on view in both Seoul and Warsaw—is slated to travel to the U.S. for the first time next month, arriving in Atlanta before heading to Charlotte and Miami. It’s been touring since its 2016 debut in Istanbul, and has visited 11 countries, reportedly attracting over 1 million visitors.
But it has hit a speed bump during its first stop in Asia.
According to promotional materials for the forthcoming U.S. edition, the show includes “more than 110 of the artist’s works, such as his original art, prints on different kinds of materials, photos, sculptures, and much more. Some of his works have even been reproduced with his stencil technique especially for the exhibition.”
“The Art of Banksy: Without Limits” in Vienna included this replica of his Bowery Wall mural in New York calling for the release of imprisoned Turkish artist Zehra Doğan. Photo courtesy of “The Art of Banksy: Without Limits.”
But of the 150 artworks on view in Seoul, only 27 are originals, according to the Korea Herald, prompting reviews complaining that “it is a pity that the show did not specify that most of works are replicas.”
“There were some misunderstandings about the exhibition. We are preparing some leaflets that indicate which artworks are original,” Park Bong-su, a senior manager at LMPE Company, the Seoul entertainment agency helping stage the show’s South Korean edition, told the Herald.
The company reportedly sold 25,000 advance tickets, but is now offering refunds for those who no longer wish to attend.
The show does include several original sculptures from Banksy’s 2015 “Dismaland” theme park exhibition in the U.K., as well as authentic prints of Smiling Copper, Consumer Jesus (Christ with Shopping Bags), and Bomb Hugger.
“The Art of Banksy: Without Limits” in Vienna. Photo courtesy of “The Art of Banksy: Without Limits.”
The reproductions include Laugh Now, a mural from the Ocean Rooms club in Brighton, U.K., showing a monkey and the caption “Laugh now, but one day we’ll be in charge.” There is also a version of Banksy’s bathroom, which he decorated with stencils of rats during lockdown in 2020 and shared photographs of online with the note that “My wife hates it when I work from home.”
“Without Limits” is not to be confused with the equally unauthorized “Banksy: Genius or Vandal,” opening next week at a former Urban Outfitters store in downtown Manhattan. That show also has been touring for years, most recently Brussels in June and Los Angeles earlier this month.
A third traveling Banksy outfit, “The Art of Banksy,” has been traversing the globe since its debut in Melbourne in late 2016. Curated by Steve Lazarides, formerly Banksy’s official art dealer, the exhibition proudly trumpets its unauthorized status, and currently claims to showcase $35 million worth of work by the artist.
“The Art of Banksy: Without Limits” in Vienna included this replica of the artist’s bathroom, painted during lockdown in spring 2020. Photo courtesy of “The Art of Banksy: Without Limits.”
“This exhibition is a one-off—never will you be able to see this amount of work in one place again,” Lazarides claimed ahead of the initial opening. “Once the show is over, the artwork will dissipate back to the other 40 collectors around the world, and the likelihood of them being brought together again in the future is very slim.”
Presumably, the profitability of the project—it charged $30 per ticket at that inaugural exhibition and has reportedly welcomed more than 750,000 guests to date—changed his mind. It opened in Chicago this month, and is headed to San Francisco in November. (It is produced by Starvox Entertainment, which is also behind “Immersive Van Gogh.”)
By the time the show touched down in Miami during Art Basel Miami Beach in 2018, Lazarides was bragging about how easy it was to reproduce. “You could take this show to every capital city in the world and it could work anywhere. Cab drivers in Karachi know who Banksy is. It could just keep running,” he told Artnet News.
“The Art of Banksy: Without Limits” in Vienna. Photo courtesy of “The Art of Banksy: Without Limits.”
The works in “The Art of Banksy” are all on loan from private collections and are predominantly screen prints—not the illegal graffiti paintings that invariably captivate the internet whenever they pop up in the wild. In Miami, those artworks “looked limp and poster-like on the big warehouse walls,” wrote Artnet News executive editor Julia Halperin.
Recreating some of Banksy’s more famous graffiti works for the exhibition was evidently a way around that problem for the team at “Without Limits.” The exhibition’s website includes the logos for several different companies, including BWO Entertainment, which has offices in New York and London; Expand Entertainment Group, a Saudi Arabian company; and Romanian live entertainment promoters Events. The site also lists Special Entertainment Events (SEE), known for touring shows on topics as varied as King Tut, the Titanic, Star Trek, and Michelangelo’s Sistine Chapel (which returns to New York late next month).
“The Art of Banksy: Without Limits” in Vienna. Photo courtesy of “The Art of Banksy: Without Limits.”
Handling ticket sales is Fever, which is involved with many so-called “experience economy” events—including the “Genius or Vandal” Banksy show in New York. That one is produced by Exhibition Hub, which also partnered with Fever on its “Immersive Van Gogh” knock-off, “Van Gogh: The Immersive Experience.” (Earlier this year, the New York Better Business Bureau issued a warning to consumers who might mistake it for the original Van Gogh animated light show popularized by Emily in Paris, and Artnet News critic Ben Davis found it to be the less impressive of the two.)
None of the companies involved responded to inquiries from Artnet News.
The preponderance of shows has not escaped the notice of the artist himself. “Members of the public should be aware there has been a recent spate of Banksy exhibitions, none of which are consensual,” he wrote on his website. “They’ve been organized entirely without the artist’s knowledge or involvement. Please treat them accordingly.”
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Titian’s ‘Poesie’ Paintings Transformed Western Art. One U.S. Museum Is Showing Them All Together—and It Will Never Happen Again
On paper, the Isabella Stewart Gardner Museum’s show of seven paintings by the Italian Renaissance great Titian might sound a modest affair, but make no mistake: “Titian: Women, Myth & Power” is a not-to-be-missed art event.
It’s “the art event of the year, and possibly the decade” wrote Sebastian Smee in the Washington Post. The Boston Globe was even more effusive, calling it “the exhibit of a lifetime—several, in fact.”
That’s because the show reunites a suite of perhaps Titian’s most famous paintings for the first time since the 16th century. Called Titian’s “Poesie” series—he considered them poetic inventions—the six monumental paintings illustrate myths as told in Ovid’s Metamorphoses, the famous ancient Roman poem.
“These paintings are not just central in Titian’s career, but are transformational in the history of Western painting,” Nathaniel Silver, curator at the Gardner, told Artnet News.
Titian, Diana and Castillo (1556-59). Collection of the National Gallery London/the National Galleries of Scotland.
Philip II, the future king of Spain and one of the era’s most significant arts patrons and collectors, commissioned the series when the artist visited him in Augsburg, Germany, over the winter of 1550 and 1551. It was the second and final time the two ever met in person. (A portrait of Philip is the seventh Titian included in the show.)
“Titian paints the ‘Poesie’ in his 60s. He’s at the peak of his accomplishments, and he’s working for his most enlightened and important patron,” Silver said.
“They also track this moment in Titian’s technique where he’s transitioning from a more linear, harder edged contour to a much brushier, almost Impressionistic way of painting,” Silver added. “It’s interesting for Titian, but it’s hugely important in the history of art, because it’s this new way of approaching the human figure with a soft contour—the idea of suggesting form rather than meticulously describing it—that really resonates with the next generation of artists.”
Titian, Venus and Adonis (1554). Collection of the Museo Nacional del Prado, Madrid.
Yet despite the works’ importance, the royal collection began splitting up the set even within Philip’s lifetime, scattering the “Poesie” canvases throughout Europe, and eventually to the U.S. Isabella Stewart Gardner managed to buy one that had passed to the French royal collection and then to England following the revolution.
“Isabella was a pioneer in her time, especially in the field of Renaissance paintings,” Silver said. “She brought many of the first authentic examples of celebrated Renaissance paintings to the U.S.”
“These paintings all have very different histories,” Silver added. “Perseus and Andromeda was at one point owned by Van Dyke, the English painter, the Danae was owned by Napoleon and taken by the Duke of Wellington from Napoleon’s wagon train as Napoleon was retreating.”
Titian, Perseus and Andromeda (ca. 1554–56). Collection of the Wallace Collection, London.
Only one remains in Spain, at the Museo del Prado in Madrid. Besides the Gardner canvas, and the rest are in the U.K. Two are jointly owned by the National Gallery in London and the National Galleries of Scotland in Edinburgh. The others belong to the Wallace Collection and the Wellington Collection, both in London.
“These six paintings are some of the crown jewels of the collections where they are today,” Silver said. “No one ever really thought it would be possible for each institution to part with them at the same time as the others.”
The Gardner is the only U.S. venue for the exhibition, which debuted in London at the National Gallery and traveled to the Prado. A fourth stop at the National Galleries of Scotland had to be cancelled due to the pandemic, which saw the show shutter its inaugural London presentation no less than three times due to lockdown restrictions.
Barbara Kruger, Body Language (2021) at the Isabella Stewart Gardner Museum, Boston, for “Titian: Women, Myth & Power” (artist rendering). Photo courtesy of the Isabella Stewart Gardner Museum, Boston.
In Boston, the Gardner invited contemporary artists Barbara Kruger and duo Mary Reid Kelly and Patrick Kelley to put their own spin on the classical subject matter that inspired Titian. The museum wanted to acknowledge that Ovid’s myths prominently feature sexual violence against women, and to reconsider these age-old stories from the perspective of women.
Kruger’s Body Language is a banner that hangs from the museum’s facade, featuring a closely cropped detail from Diana and Actaeon, where the hunter Actaeon unwittingly intrudes on the goddess Diana and her nymphs while they are bathing. (She transforms him into a stag and his hounds kill him.)
Kelley and Kelley made a short film, The Rape of Europa, which gives voice to the title character, having her speak in satirical poetry.
Mary Reid Kelley and Patrick Kelley, Still from The Rape of Europa (2021), still. Commissioned for “Titian: Women, Myth and Power” at the Isabella Stewart Gardner Museum, Boston. Photo courtesy of the Isabella Stewart Gardner Museum, Boston.
“It really responds to Ovid, because if you read the Metamorphoses in Latin, he uses a lot of plays on words and they’re quite funny in a very dark way,” Silver said. “Mary picked up on that and reworked it in a modern context, which I thought was a brilliant way of engaging with the classical source and the Titian painting.”
The exhibition was in the works for five years, but was only made possible in 2019, when the Wallace finally got permission to loan works from its collection. The government had previously disallowed loans as a condition of the founder’s bequest.
“The Wallace Collection had never before lent any work of art anywhere,” Silver said. “The director and trustees raised the possibility of an alternative interpretation of the bequest, and the Ministry of Culture agreed. They will from now on be able to lend works of art.”
Titian, The Rape of Europa (1560–62).
Even with that hurdle cleared, reuniting the “Poesie” series was an immense task. Just shipping the works from Spain to Boston was complicated, being delayed by COVID, flooding in Europe, and even the Olympics, due to complications surrounding horses set to travel to Tokyo for the equestrian events.
Realistically, the works are too fragile, the shipping and insurance costs too high, and the logistics too complex, to ever hope to bring them together again.
In painting the “Poesie” series, Titian started with two scenes he had painted before. Danaë, showing the title figure being impregnated by Zeus in the form of a shower of gold, is now at the Wellington Collection. Venus and Adonis, in which Venus, bewitched by Cupid’s arrow, tries in vain to prevent her young love Adonis’s death at the hands of a wild boar, stayed in Spain, at the Prado.
With the remaining four paintings, Titian ventured out into fruitful new territory. The series culminated with The Rape of Europa, now at the Gardner.
Titian’s Rape of Europa hanging in the Red Drawing Room at Isabella Stewart Gardner’s Boston home, now a museum, in 1900. Photo by Thomas E. Marr.
“It’s like Titian’s warming up with subjects he’s familiar with, and then he breaks free and that’s where you begin to see the most visible innovation and creativity,” Silver said.
The painting entered the Gardner collection 125 years ago this very month. It cost £20,000, then a record price for an Old Master—but the museum’s founder was determined to bring the first genuine Titian canvas to the U.S.
“And it wasn’t just any Titian—it was this incredibly celebrated Titian. It became an immediate sensation,” Silver said. “From our perspective today, Isabella got a deal. She got one of the most important paintings in the history of Western Art. Today, The Rape of Europa is considered the most important Renaissance painting in the U.S.”
Reunited with the rest of the series, the painting’s power is all the more apparent today.
“It’s taken almost five centuries to get the ‘Poesie’ back together in one place,” Silver said. “It really is a one-time opportunity to see them all as Philip intended them.”
“Titian: Women, Myth & Power” is on view at the Isabella Stewart Gardner Museum, August 12, 2021–January 2, 2022.
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In Pictures: This Landmark Museum Show in Virginia Examines How Black Southern Art and Music Inspire One Another
The streets of Richmond, Virginia are a lesson in how the past and present converge. Statues honoring Confederate soldiers have been toppled, while Kehinde Wiley’s defiant response to the Civil War, Rumors of War, stands sentry outside the Virginia Museum of Fine Arts. Inside, an exhibition explores the creative output and traditions of Black artists through the lens of music and sound art.
The show, titled “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse,” features an intergenerational cohort of artists, some self taught, some formally trained, working in a range of media. The show gathers more than 140 sculptures, paintings, drawings, films, photographs, installations, and sound works, all intermingling in the galleries.
Upon entering the cavernous museum, visitors are drawn down a hallway where the show’s introduction is Paul Stephen Benjamin’s Summer Breeze, an installation featuring a lyric from Billie Holiday’s heart-wrenching song about lynching, Strange Fruit, projected on a video screen and filling the gallery.
Installation view, “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse” at the VMFA. Photo: Travis Fullerton, © 2021 Virginia Museum of Fine Arts.
The work is surrounded by other screens showing Jill Scott’s 21st-century rendition of the song, while, on a pyramid of televisions behind the singers, a young Black girl plays on a swing set.
“The confluence between the visual and sonic arts in the Black creative expression has long been recognized,” the show’s curator, Valerie Cassel Oliver, said in a press release. “What has remained elusive, particularly in the presentation of these forms, is the long trajectory of this exchange.”
“André 3000’s iconic phrase, ‘The South’s got something to say,’ really sparks for me a meditation to dig deep and to understand how Southern hip-hop artists were shaping their identity within the bedrock of the landscape that they knew and the creative expression born from the history of that landscape,” she added.
See images from the show below.
RaMell Ross Caspera, (2019). Virginia Museum of Fine Arts. Image: © RaMell Ross.
John Biggers, Four Seasons (1990). © 2020 John T. Biggers Estate/ VAGA via Artists Rights Society (ARS), NY, Michael Rosenfeld Gallery, Courtesy of Gibbes Museum of Art/Carolina Art Association.
Installation view, “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse” at the VMFA. Photo: Travis Fullerton, © 2021 Virginia Museum of Fine Arts.
El Franco Lee II, DJ Screw in Heaven 2 (2016). Courtesy of the artist.
Rodney McMillian, From Asterisks in Dockery (2012). Courtesy of the artistand Vielmetter Los Angeles.
Installation view, “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse” at the VMFA. Photo: Travis Fullerton, © 2021 Virginia Museum of Fine Arts.
Installation view, “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse” at the VMFA. Photo: Travis Fullerton, © 2021 Virginia Museum of Fine Arts.
Installation view, “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse” at the VMFA. Photo: Travis Fullerton, © 2021 Virginia Museum of Fine Arts.
Installation view, “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse” at the VMFA. Photo: Travis Fullerton, © 2021 Virginia Museum of Fine Arts.
Fahamu Pecou, Dobale to the Spirit (2017). Courtesy Fahamu Pecou, Image © Dr. Fahamu Pecou, Courtesy Studio KAWO/Fahamu Pecou Art.
Installation view, “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse” at the VMFA. Photo: Travis Fullerton, © 2021 Virginia Museum of Fine Arts.
Nadine Robinson, Coronation Theme: Organon, (2008). High Museum of Art, Atlanta.Image: © Nadine Robinson
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