Eliana Willis

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    Justine Hill’s New Show of Sculptural Paintings Is a Timely Homage to the Importance of Touch—See Images Here

    “Justine Hill: Touch”Through October 31 at Denny Dimin Gallery

    What the gallery says: “Justine Hill’s work explores the boundaries of abstract painting with her unique approach to form and mark making. The works in the exhibition are a continuation of what she has styled the ‘Cutouts’—paintings on shaped wood panels wrapped in canvas. Hill began to work with this process five years ago when she was questioning the circumscribed boundary of the single rectangle for a painting. The way Hill chooses to arrange the pieces, how the shapes relate to one another, and the negative spaces within and around them, are all essential to the work.
    The title of the exhibition, ‘Touch,’ refers to the unquantifiable loss we have experienced in our socially distanced, remote lives over the past few months. It is an expression of desire to return to viewing art in person, because without the idea of touch, components such as texture, scale, volume, and color are impossible to understand with accuracy. Hill writes, ‘Touch is about standing in front of something or someone. It is about all that we learn by being in the same place, even when no one is speaking. It is about feeling the touch of the handmade. It is about everything that is lost in translation on a screen.’”
    Why it’s worth a look: The colorful cut-out abstractions in Hill’s work are delightful to view online, and even better to see in person. Hill’s most recent series of works, titled “Replica,” are responses to the art of Marina Adams, whose abstract paintings incorporate geometric shapes and bright colors. Hill’s works evoke homemade crafts and magic markers, though their large-scale sculptural aspects and shaped canvases nod to other art-historical precedents, such as Frank Stella’s “Moby Dick” series. The works make you want to grab some art supplies and go to town.
    What it looks like:

    Installation view, “Justine Hill: Touch” at Denny Dimin Gallery.

    Installation view, “Justine Hill: Touch” at Denny Dimin Gallery.

    Installation view, “Justine Hill: Touch” at Denny Dimin Gallery.

    Installation view, “Justine Hill: Touch” at Denny Dimin Gallery.

    Justine Hill, Kilter (2020). Courtesy of the artist and Denny Dimin Gallery.

    Installation view, “Justine Hill: Touch” at Denny Dimin Gallery.

    Justine Hill, Handwork (2020). Courtesy of the artist and Denny Dimin Gallery.

    Installation view, “Justine Hill: Touch” at Denny Dimin Gallery.

    Justine Hill, Replica 3 (2020). Courtesy of the artist and Denny Dimin Gallery.

    Justine Hill, Replica 2 (2020). Courtesy of the artist and Denny Dimin Gallery.

    Justine Hill, Still Life 1 (2019). Courtesy of the artist and Denny Dimin Gallery.

    Justine Hill, Still Life 3 (2019). Courtesy of the artist and Denny Dimin Gallery.

    Justine Hill, Replica 1 (2020) detail. Courtesy of the artist and Denny Dimin Gallery.

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    “NON PLUS ULTRA” by Gonzalo Borondo in Salamanca, Spain

    Since the beginning of his artistic activity, Borondo has seen glass as an interesting material to explore, a source of original creative possibilities, attracted by the opposites that characterise it: transparency and hardness; fragility and resistance; protection and danger. He is also interested in its relationship with light and the elegance it transmits.

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    In recent years, Borondo has tackled the subject with a multidisciplinary approach, articulating innovative formal solutions that combine skills from different areas and that have seen the practice of “glass scratching” evolve in relation to the artist’s intentions: to enliven painting and to experiment with silkscreen printing. “Non Plus Ultra” is the result of a visionary perspective on screen printing, where the rules are shifted towards the unusual, where error is enjoyed, the cause before discovery, where the technique goes beyond the limits imposed by the blank sheet. More

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    in Street Art

    “There Was A Fault” by Seth Globepainter in Grigny, France

    Seth Globepainter recently finished his last wall entitled “There Was A Fault” for sixth edition of Wall Street Art Festival of the Grand Paris Sud. The mural is located at the heart of La Grande Borne in Grigny, France. “There Was A Fault” represents a child who seems to push the walls so that nature takes back its rights. A fault is then created, cracking the wall and revealing nature and the blue sky.

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    French artist Julien “Seth” Malland, or Seth Globepainter has gained international fame over the years by developing an urban painting linked to childhood based on the imagination, individual or collective.
    Seth travels the world, working with local artists to create vibrant and colourful portraits of children. Drawing inspiration from the surrounding he is in, he includes cultural elements into his art and turns the children into spokespeople and messengers of his investigations. He puts into play his image of innocence, and places his character in difficult social, political and geographical contexts.
    Scroll down below for more photos of the mural. More

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    Artist Gina Beavers Satirizes Our Insatiable Appetite for Personal Beauty in Her New Show at Marianne Boesky—See Images Here

    As galleries and art institutions around the world begin to reopen, we are spotlighting individual shows—online and IRL—that are worth your attention.

    “Gina Beavers: World War Me”through October 17 at Marianne Boesky Gallery
    What the gallery says: “Beavers spends hours scouring Instagram, YouTube, blogs, and other online sources in search of images that inspire, compel, repulse, and amuse her. In recent years, she has become particularly drawn to make-up tutorials created by both professional and amateur artists. Beavers takes stills from these tutorials and recreates them with incredible realism, enlivening the flattened image with dynamic physicality. To create her intensely tactile works, Beavers builds up acrylic paint so densely on the canvas that she is able to sculpt it with a knife. For larger works, she also uses foam to add to the fullness of the forms.
    “’I am intrigued by the tools of creativity that are proliferating online, particularly when people apply these to their own bodies, from elaborate face and body painting to nail art,’ said Beavers. ‘For the new works in “World War Me,” I began to use these tools on my own body, borrowing techniques from the internet to make certain artists and their work a part of my own physical self. I am interested in the ways existing online is performative, and the tremendous lengths people go to in constructing their online selves. Meme-makers, face-painters, people who make their hair into sculptures, are really a frontier of a new creative world.’”
    Why it’s worth a look: The genesis for this series, which focuses to a great degree on the artist’s own body, was a Sex and the City Meme featuring Carrie Bradshaw asking: “as our country entered World War III, I couldn’t help but wonder… is it time to focus on World War Me?”
    And so Beavers does, using the toxicity of consumerism and the powerful lure of Instagram as a starting point for works that are as repulsive as they are enticing. Like Bradshaw’s performative introspection, a much-satirized tic of the TV series, Beavers is interested in users’ carefully constructed presences.
    The canvases, built up with thick impasto paint, are not so unlike cakey foundation and spidery eyelashes, thick with dried and crusty mascara, just as pillowy soft lips are only achieved through sticky layers, prescriptions, injections, and Facetune.
    What it looks like:

    Gina Beavers, Addiction Lips (2020). Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Gina Beavers. Photo credit: Lance Brewer.

    Installation view, “Gina Beavers: World War Me” at Marianne Boesky Gallery. Photo by Lance Brewer.

    Gina Beavers, The Artist’s Lips with Pollock, Kelly, and Kline (2020). Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Gina Beavers. Photo credit: Lance Brewer.

    Installation view, “Gina Beavers: World War Me” at Marianne Boesky Gallery. Photo by Lance Brewer.

    Gina Beavers, Picasso Underwear (2020). Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Gina Beavers. Photo credit: Lance Brewer.

    Gina Beavers, American Flag Sponge Butt Cake (2020). Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Gina Beavers. Photo credit: Lance Brewer.

    Installation view, “Gina Beavers: World War Me” at Marianne Boesky Gallery. Photo by Lance Brewer.

    Gina Beavers, Nude Self-self-portrait (2020). Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Gina Beavers. Photo credit: Lance Brewer.

    Gina Beavers, I voted (2020). Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Gina Beavers. Photo credit: Lance Brewer.

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    Must-See Art Guide: Turin

    This week, a new three-day arts celebration is launching in Turin, Italy, with hopes to mark the city’s emergence from a tumultuous lockdown period and to lure art lovers back to exhibition spaces.
    Dubbed OVERTURE 2020 and organized by the Torino Art Galleries Association, the event centers on a citywide series of coordinated gallery openings. Thirteen of its most prestigious spaces will launch new (and in one case, postponed) exhibitions from September 22 through 24. The long-awaited shows will include expanded daylong openings, scheduled and staggered entries, and extensive online materials for those not quite ready to visit in person.
    If you happen to be in town this week, you won’t want to miss the celebratory event. We’ve pulled together a list of openings worth an in-person peek. Bring your eyes, and wear a mask!
    Luisa Raffaelli, My Life in My Bag. Courtesy of Febo and Daphne.

    Exhibition: “Luisa Raffaelli: Bag in Box” 
    When: Through October 30, 2020
    Where: Febo and Daphne, Via Vanchiglia 16, Turin
    Detail of “Unmade” by Ilaria Gasparroni. Courtesy of Gagliardi and Domke.

    Exhibition: “Ilaria Gasparroni: Unmade”
    When: Through October 24, 2020
    Where: Gagliardi and Domke, Via Cervino 16, 10155 Turin
    Installation view “Sam Falls: Tongues in Trees, Books in Brooks, Sermons in Stones.” Courtesy of Galleria Franco Noero.

    Exhibition: “Sam Falls: Tongues in Trees, Books in Brooks, Sermons in Stones”
    When: Through January 09, 2021
    Where: Galleria Franco Noero, Via Mottalciata 10 / B, 10154 Turin
    Costas Varotsos , Europa 2. Courtesy of Galleria Giorgio Persano.

    Exhibition: “Costas Varotsos: Europa 2“
    When: Through January 19, 2021
    Where: Galleria Giorgio Persano, Via Stampatori 4, 10122 Turin 
    Leandro Agostini, Phantom (2020). Courtesy of In Arco.

    Exhibition: “Leandro Agostini, Marcel Dzama, Chris Hammerlein: At What Point Is The Night?”
    When: Through January 16, 2021
    Where: In Arco, Piazza Vittorio Veneto n. 3, 10124 Turin
    Detail of Untitled by Martha-Tuttle (2020). Courtesy of the artist and Luce Gallery.

    Exhibition: “Martha Tuttle: Constellations I Drew in Nevada”
    When: Through October 24, 2020
    Where: Luce Gallery, Largo Montebello, 40, 10124 Turin  
    Rodrigo Blanco, Foresta Erotica. Courtesy of Weber & Weber.

    Exhibition: “Rodrigo Blanco: Subtle Appearances“
    When: Through October 31, 2020
    Where: Weber & Weber, Via San Tommaso n. 7, 10122 Turin
    Jonathan Monk, Shcermata. Courtesy of Norma Mangione.

    Exhibition: “Jonathan Monk: Behind Closed Doors”
    When: October 25, 2020
    Where: Norma Mangione, Via Matteo Pescatore 17, 10124 Turin
    Gregorio Botta, Muta (2019). Courtesy of Peola Simondi.

    Exhibition: “Gregorio Botta: It Is a Delicate Matter”
    When: Through November 14, 2020
    Where: Peola Simondi, Via della Rocca 29, 10123 Turin
    Thomas Wrede, Housing Estate I. Courtesy of Photo & Contemporary.

    Exhibition: “Thomas Wrede: Real Landscape”
    When: Through October 24, 2020
    Where: PHOTO & CONTEMPORARY, Via dei Mille 36, 10123 Turin
    Tiziana and Gianni Baldizzone, La route dangereuse. Courtesy of Raffaella De Chirico.

    Exhibition: “Tiziana and Gianni Baldizzone: Traveling Without Moving”
    When: Through October 17, 2020
    Where: Raffaella De Chirico, Via Giolitti, 52 & Via della Rocca, 19 10123 Turin
    Magda T, Home. Courtesy of Riccardo Costantini.

    Exhibition: “Magda_t_Home“
    When: Through October 24, 2020
    Where: Riccardo Costantini, Via Giolitti 51, 10123 Turin
    Mario Airò, In Letizia. Courtesy of Tucci Russo.

    Exhibition: “Mario Airò In Letizia”
    When: Through October 03, 2020.
    Where: Tucci Russo, Via Davide Bertolotti, 2, 10121, Turin
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    in Street Art

    Mural by Mr Cenz in South London

    London based graffiti artist Mr Cenz just worked on a mural for London Mural Festival that is taking place this September 2020. The breathtaking wall is located on Selhurst Park Stadium – home of the Crystal Palace Football Club. According to Mr Cenz it was an honour to create something special in an area close to his heart and with strong personal connections.

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    Mr Cenz has been scribbling on surfaces since 1988 when he first discovered hip-hop culture and graffiti art. His distinctive work can currently be seen all over the streets of the world, especially in his hometown of London. It features layers of intricate and flowing letterforms, shapes and line work, which are abstracted in a unique and aesthetically pleasing way. His style is full of funk and movement and fuses different skills together such as photorealism, illustration and graffiti letterforms. His work is open to individual interpretation and has been described as “surrealist graffiti art for the soul”.
    Check out below for more photos of his work.

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    Hannah Beerman’s Joyful Assemblages Capture the Communal Spirit of the Lockdown Era (With a Side of Pita Bread). See Them Here

    “Hannah Beerman: Delicate Rubbernecking”
    through October 25, 2020 at Kapp Kapp, New York
    What the gallery says: “Known for her distinctly punk and vibrant assemblage paintings, Beerman’s process is heavily based in object. For Beerman, no material is discriminated against, therefore, every material becomes paint as all paint becomes material. 
    ‘The paintings are like fly-paper,’ says Beerman, ‘they pick up on things that are going on around them.’ Paintings in this new body of work include pita bread, pins, a book sock, neti pot, and ice tray, among others.”
    Why it’s worth a look: There’s a particular joy in looking at Beerman’s everything-but-the-kitchen-sink assemblages in September 2020, as we slowly extricate ourselves from the maddening grip of quarantine. All but one of the works in “Delicate Rubbernecking” were made this year, and they feel like it, capturing the best of what the pandemic has brought out in all of us: the resourcefulness, the humility, the quotidian joy.  
    Beerman is also an easy artist to root for, representing as she does another one of the positives from the last couple of months: a sense of community. In March, she launched Artists for Humans, an Instagram initiative that sees artists give away artworks in exchange for donating money to various relief causes. To date, the project has raised over $150,000 for charity.
    What it looks like:
    Installation view of “Hannah Beerman: Delicate Rubbernecking” at Kapp Kapp, New York, 2020. Courtesy of Kapp Kapp.

    Hannah Beerman, Waterproof Reversible (2020). Courtesy of the artist and Kapp Kapp.

    Hannah Beerman, Pale (2020). Courtesy of the artist and Kapp Kapp.

    Installation view of “Hannah Beerman: Delicate Rubbernecking” at Kapp Kapp, New York, 2020. Courtesy of Kapp Kapp.

    Hannah Beerman, My Vocabulary Did This to Me (2019). Courtesy of the artist and Kapp Kapp.

    Hannah Beerman, Glitter Pita (2020). Courtesy of the artist and Kapp Kapp.

    Hannah Beerman, Pants (2020). Courtesy of the artist and Kapp Kapp.

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    in Street Art

    “Dualismo” by Vesod in Campobasso, Italy

    Italian Artist Vesod recently worked on a new mural for the 7th edition of Antonio Giordano Urban Art Award (Premio Antonio Giordano) in Santa Croce di Magliano, Italy. The artwork, entitled “Dualismo”, has been made on the facade of a private building in the heart of the village. The composition offers a real oneiric vision, where architectures, female bodies and machines merge together in a futuristic vortex, open to double or multiple interpretations in contrast to each other.

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    Vesod was born in Turin in 1981 and he currently lives and works in a Venaria Reale. Influenced by his artist father and the early 20th century Italian movement Futurism, Vesod skillfully applies layers of opaque paint to create remarkable three-dimensional geometric objects and elegant figures with a unique and expressive sense of movement.
    His work is characterized by high contrast figures full of staggered motion and bright geometric abstractions.
    Take a look at more images below and check back with us soon for more updates from around the world.

    Photo credits: Premio Antonio Giordano, Vesod

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