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    “Arno River Imaginary Topography” by Andreco in Florence, Italy

    Italian artist Andreco recently finished a mural in Florence, Italy. Arno – Imaginary Topography, a 350 square meters site-specific intervention located in the central courtyard of Manifattura Tabacchi. It is his first public artwork after the lock-down. The work, curated by Caterina Taurelli Salimbeni (MIM – Made in Manifattura), represents an imaginary topography beginning from the shape of the Arno river. The public art project is a tribute to the environment and to those suggestive landscapes in Tuscany where the work is located. This artwork is also part of the wider Andreco’s art project on river ecology, green spaces and environmental advocacy.

    “For me the concrete form in the courtyard suggests an imaginary topography, a geological and morphological study for a future landscape. The floor-drawing wants to be a tribute to the territory, the geology, the rivers, the wetlands, the ecosystems, the unevenness of the Tuscan territories and to the place where it is located.” the artist said.

    A variation of reds with a blue line in the center which represents the Arno river in the Florence district. An imaginative landscape determined by balanced blue elements. The shades of reds are inspired by the color of the bricks of the buildings. The painting deconstructs the architectural elements and smoothens the industrial architecture, re-establishing a new life and a new beginning.

    Andrea Conte also known as Andreco works between art, science and social and environmental themes. Andreco is a visual artist and also an environmental engineer PhD specialize in sustainable resources management in different climate conditions. His artistic research is focused on the relation between humans and nature and between the built environment and the natural landscape. Since 2000 Andreco is researching between science, environmental sustainability, activism, urbanism, anthropology, ecology, philosophy, and symbolism, on the base of this transdisciplinary researches he creates his conceptual and visual language.
    Check out below to see more photos of Andreco’s Arno River.

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    Street Artist Kenny Scharf Painted 250 Unique, Expressive Faces on the Walls of Jeffrey Deitch’s Los Angeles Gallery—See Them 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.
    “Kenny Scharf: MOODZ”through October 31Jeffrey Deitch, Los Angeles

    What the gallery says: “Who are the characters depicted on Scharf’s multiple canvases? He explains that they all reflect aspects of his own personality. Some days he needs to release his aggressive energy and they may reflect his anger. Other faces reflect his exuberance and love of painting.
    Scharf embraces the immediacy of spray paint. His gestures use his entire body. The process is totally physical, like a dance. He paints while listening to music on his headphones, entering into a zone where his mind and body merge. His strokes follow the beat.”
    Why it’s worth a look: Before there were emojis, there was Kenny Scharf. Back in 1981, the artist began trawling the streets of New York City armed with cans of spray-paint, applying his range of emotive, psychedelic cartoon faces to surfaces across the metropolis. A contemporary of Jean-Michel Basquiat, Keith Haring, and Andy Warhol, Scharf grew up in California before moving east, and never lost his connection to the aesthetic of laid-back consumerism.
    Scharf draws a line between the seriality of his work to his early experience watching pixelated images beam through his parents’ television set. This interest in repetition inspired him to create the massive 250-face exhibition at Jeffrey Deitch. He worked for months to render each individual face, often creating multiple images a day. The result is an engulfing show with a visage for every mood.
    What it looks like:

    Installation view, “Kenny Scharf: MOODZ” at Jeffrey Deitch, Los Angeles. Photo: Joshua White.

    Installation view, “Kenny Scharf: MOODZ” at Jeffrey Deitch, Los Angeles. Photo: Joshua White.

    Installation view, “Kenny Scharf: MOODZ” at Jeffrey Deitch, Los Angeles. Photo: Joshua White.

    Installation view, “Kenny Scharf: MOODZ” at Jeffrey Deitch, Los Angeles. Photo: Joshua White.

    Installation view, “Kenny Scharf: MOODZ” at Jeffrey Deitch, Los Angeles. Photo: Joshua White.

    Kenny Scharf, Monstrono (2020). Courtesy of the artist and Jeffrey Deitch, Los Angeles.

    Installation view, “Kenny Scharf: MOODZ” at Jeffrey Deitch, Los Angeles. Photo: Joshua White.

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    “Le Pêcheur” by Telmo Miel in Boulogne, France

    Artistic duo Telmo Miel is back with a new mural entitled “Le Pêcheur” in Boulogne, France. ‘Le Pêcheur’ is french for fisherman, the idea behind this piece is being a provider for yourself and others — something we all felt and thought about in the last months. Telmo Miel have been home for a while like everybody else doing studio work or projects close to home. But this time, they are finally able to travel again and do what they love in these crazy times.

    Telmo Miel consists of Dutch artists  Telmo Pieper and Miel Krutzman. Each artist comes from their own respected backgrounds with their own history behind them but the both have come together to combine their spray-painting techniques with realism, abstraction and surrealism. They often execute their pieces on a monumental scale, creating huge architecturally sized spray-paint paintings on building façades.
    Check out below to see images of their latest mural and stay tuned for more updates on the street art scene.

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    ‘It Was Always About Inequality’: Watch Artist Brian Jungen Make Art About Mass Media’s Erroneous Portrayals of Native Peoples

    The artist Brian Jungen is a master of shifting perspectives, and all of his work is rooted in exploring duality, in subtle and sometimes obvious ways.
    The artist, who lives and works in North Okanagan, British Columbia, is of Swiss and Dane-zaa ancestry, and he repurposes the detritus of capitalism and mass production to make stirring works that reflect his own Native identity.
    Using everything from Nike sneakers to plastic gas canisters and golf bags, Jungen creates sculptures resembling traditional Native objects. He was also inspired to turn to printmaking after seeing the work of Inuit artists in Alaska, and in an exclusive interview with Art21 filmed in 2016, he described how he has used the medium.

    Production still from the Art21 “Extended Play” film, “Brian Jungen: Printing Two Perspectives.” © Art21, Inc. 2016.

    After gathering newspaper clippings from an archive at a museum in Calgary, Jungen decided to make works that juxtaposed news stories about Native people and their white counterparts.
    “One thing I always liked about the imagery that you see in the cultures on the coast is this bilateral symmetry—trying to portray both sides of something on a flat surface,” he told Art21.
    Flipping through the old broadsides, Jungen saw stories of Natives that were seemingly always negative, portraying them as poor, living in slums, and causing trouble. Right next to that, advertisements presented smiling white families showing off new purchases, or playing games.
    “It was always about inequality, but it wasn’t really from the Native person’s perspective,” Jungen says, noting that if he had seen similar images, “they would’ve made me feel really bad about being Native.” In his reproductions of the newsprints, the stark reality of media’s biased portrayal of Natives is clear.
    Watch the video, which originally appeared as part of Art21’s series Extended Play, below.
    [embedded content]
    This is an installment of “Art on Video,” a collaboration between Artnet News and Art21 that brings you clips of newsmaking artists. A new series of the nonprofit Art21’s flagship series Art in the Twenty-First Century is available now on PBS. Catch all episodes of other series like New York Close Up and Extended Play and learn about the organization’s educational programs at Art21.org.
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    Artist Interview: Travis Fish

    Contemporary American artist Travis Fish has been a rising name in the global art scene. Originally from Wisconsin, Travis lives and works in New-York City.
    Travis Fish paints catchy motifs, shirts, pants, luxury sweatshirts and portraits as if he had put them on his large format canvases in no time. His art seems childish, naive, without clear lines, with watercolor colors, random spots and deliberate mistakes: “I paint as fast as I can, for fear of becoming too perfect. Spontaneity should be preserved at all costs.”
    Travis fits well in the current trend of naive painting with child-like motifs. Seen in this way also with artists like Robert Nava, Oli Epp or Katherine Bernhardt.
    I caught up with Travis to talk about his artistic process and the influence of fashion to it.

    Jonas Wood and Travis Fish at Carl Kostyál booth in Felix, Los Angeles, 2020

    Rom Levy: To begin, can you tell me a little about yourself and your background ?
    Travis Fish: I was born in Wisconsin 1989. Went to art school at the School of the Art Institute of Chicago. After that I worked as a studio assistant for some painters I really respect. Following that I lived in Hong Kong and Korea for a few years, Then moved to New York in 2015.

    What’s your working process like?

    My process is a bit manic. I feel manic when I paint, you can see it in my eyes. The painting is on the ground. I dance around it a bit, trying to reach the middle. I use really watered down paint so things might spill around, so gotta deal with that. Usually I’m watching one layer dry so I can put the next layer down at the right time. Watching the paint dry is a part of it for me.

    Let’s talk about your current subjects. What inspired them, and what are your source materials?

    Currently I’m painting jackets, sweaters, and T-shirt’s. Mainly designer and grateful dead stuff. I started doing the clothes after a year of painting portraits of Migos. It started off where I would do a portrait of Offset, then Quavo, then Takeoff, repeat. I follow a bunch of fan pages that post daily. Then I started painting the clothes they would wear. I am a super fan. Fan art.

    How long have you been developing this visual language?

    I’ve been painting this way for about 4 years. It has been incubating over a decade and the visual language I am working within is a result of years of bad painting.

    Offset at Malmö Sessions by Travis Fish

    How did your interest in fashion become such a prominent part of your creative process?

    My interested in fashion and adornment have not been lifelong. For most of art school I owned a single sweater. My interest in fashion was born out of my love for Offset. These are items of adornment that signify a certain level of wealth and mobility. This fashion is so fast. The speed at which new collections are released works with the speed of my painting. Fast fashion and fast painting. I find this contrasted with the permenance of painting, a very fruitful space to work in. From the technical perspective the sweater can give me so many different things to paint. It could be a sweater with text, or a nature scene, or a print, or whatever. There is always something there to push and pull.

    Have you ever been intrigued to work on a mural / public art & urban art ?

    I have made some big paintings(10×15’). So I think I would have some fun with a mural.

    I am interested in the ephemerity of paintings, do you view your own work as precious? If you are unhappy with a work, do you tend to destroy it or would you rather put it in storage for a while and alter them at a later date?

    I’m usually pretty happy with how they turn out ha. But if I’m not happy with it, I take it off the stretcher roll it up and put it away. Ive never destroyed a painting. I never rework paintings. I just like to start a new one. They are not precious when I am working on them, I have even been know to sleep under them, but when its finished it becomes a little more precious and the work becomes preserving it.

    Let’s talk about the work you are making for Carl Kostyál in September. What type of works are you preparing? Does it connect to previous works, or did you try something new?

    I’ll be working on the show with Carl right up until it’s time to hang. Right now I’m painting sweaters, but a lot could change in a month.
    In addition to that, Travis Fish will have an upcoming solo show at Carl Kostyál, Stockholm in September and will be showing in Carl Kostyál booth at Dalla Art Fair in April 2021.

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    “ROGER DELIVRANT ANGELIQUE” by 100taur in Montauban, France

    French artist 100taur just worked on a mural painting done in collaboration with the City of Montauban and the Ingres Museum. The mural is the 2nd part of the trilogy around the work of Jean-Auguste-Dominique Ingres.

    For little background on the artwork, Roger delivering Angelique is a painting painted by Jean-Auguste-Dominique Ingres in 1819, inspired by a song by the furious Roland of Ariosta. Angelique was a princess of the kingdom of Cathay, India. She was later brought by Roland to France to fall in love with him. However, she ran away and was captured by pirates who abandoned her on an island to offer her to the Orquemarine. That’s when Roger stepped in to save her, mounted on the Hippogriff.

    “I represented Roger as a vampire bat, riding the Hippogriff and waving his spear to the orca – dragon, as a sign of deadly attack. This is the part of the wall I made first. Whether it’s Roger, the hippogriff or the orca, they are represented in a way that evokes the unwavering bond that lies between human and the monstrous.” 100taur said.

    100Taur’s work is halfway between innocence and horror. He explores the concepts of difference and imperfection by creating fantastical half human and half animal creatures, evolving in a poetical universe. Each tiny details of his work is a tribute pays to the famous sentence by Francisco De Goya “The sleep of reason produces monsters”.
    He shows us frightening mythical creatures through is childish eyes and made his most terrific nightmares harmless, almost charming through his art. Behind each of his drawings, paintings, sculptures or settings, a story is waiting to be discovered. 100Taur was born in 1982 and works in Toulouse. He has been interested in nature, sacred art, Japanese culture and mythologies from all over the world.
    Check out below for more photos of the mural.

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    Jeff Koons, Marina Abramović, and 200 Other Artists Designed Flags That Are Now Flying at New York’s Rockefeller Center

    For a few weeks this summer, one of New York’s most iconic landmarks, Rockefeller Center, will become an outdoor art gallery featuring the work of both amateur New York artists and blue-chip stars like KAWS and Marina Abramović alike.
    Hundreds of New Yorkers submitted proposals earlier this year to design eight-by-five-foot flags. This past Saturday, the 192 winning designs were unfurled on the flags surrounding the plaza’s ice rink. In addition to the open call, 13 well-known artists—including Carmen Herrera, Faith Ringgold, Hank Willis Thomas, Jeff Koons, Jenny Holzer, Laurie Anderson, Sanford Biggers, Sarah Sze, Shantell Martin, and Steve Powers—were also commissioned to create flags.
    Koons’s flag features a colorful argyle background with the letters “NYC” spelled out in shiny gold balloons. KAWS’s design incorporates his “Companion” toys, while Jenny Holzer, whose practice is often rooted in text, created a flag with the word “PROTECT” surrounded by radiating graphic lines. Abramović’s design is based on the spiking line of a heartbeat monitor. The artist explained her inspiration in a statement: “The EKG line of my flag represents the resilience of the human spirit in the color red which symbolizes our blood and is a color I often surround myself with when I need to feel strong. This red line beats across the white flag which symbolizes surrender.”
    See images of the installation and selected designs below. The Flag Project is on view at Rockefeller Plaza through August 16, 2020.

    The Flag Project at Rockefeller Center. Photo courtesy of Tishman Speyer.

    The Flag Project at Rockefeller Center. Photo courtesy of Tishman Speyer.

    Courtesy of KAWS and the Flag Project at Rockefeller Center (2020).

    Courtesy of Hank Willis Thomas and the Flag Project at Rockefeller Center (2020).

    The Flag Project at Rockefeller Center. Photo courtesy of Tishman Speyer.

    Courtesy of Jeff Koons and the Flag Project at Rockefeller Center (2020).

    Courtesy of Marina Abramović and the Flag Project at Rockefeller Center (2020).

    Courtesy of Sarah Sze and the Flag Project at Rockefeller Center (2020).

    The Flag Project at Rockefeller Center. Photo courtesy of Tishman Speyer.

    Courtesy of Carmen Herrera and the Flag Project at Rockefeller Center (2020).

    Courtesy of Sanford Biggers and the Flag Project at Rockefeller Center (2020).

    Courtesy of Jenny Holzer and the Flag Project at Rockefeller Center (2020).

    Courtesy of Laurie Anderson and the Flag Project at Rockefeller Center (2020).

    Courtesy of Steve Powers and the Flag Project at Rockefeller Center (2020).

    Courtesy of Shantell Martin and the Flag Project at Rockefeller Center, (2020).

    Courtesy of Faith Ringgold and the Flag Project at Rockefeller Center (2020).

    Courtesy of Christian Siriano and the Flag Project at Rockefeller Center.

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    “Gestures of a Square” by Li-Hill in Dalston, East London

    Street artist Li-Hill recently a mural entitled “Gestures of a Square” at Gillett Square, a unique and important public space in the heart of Dalston, East London. Physically, it is a granite open space flanked by jazz bars, cafes, food outlets and a host of other activities. Culturally, the square is the co-presence of people – people
    The post “Gestures of a Square” by Li-Hill in Dalston, East London appeared first on StreetArtNews. More