Eliana Willis

More stories

  • 138 Shares179 Views

    in Exhibitions

    A Disney Resort Will Show George W. Bush’s Portraits of Veterans

    In time for National Military Appreciation Month in June, EPCOT’s American Adventure Pavilion, at the company’s Walt Disney World Resort in Florida, is mounting an exhibition of former president George W. Bush’s paintings of surviving military veterans. “Portraits of Courage: A Commander in Chief’s Tribute to America’s Warriors” includes more than 60 portraits, each accompanied by “the inspiring story of the veteran depicted” as written by Bush. The exhibition is organized in collaboration with the George W. Bush Institute.
    “Celebrating those who give so much to our country has been part of the fabric of The Walt Disney Company throughout our 100-year history,” said Josh D’Amaro, chairman of Disney Experiences. “We’re grateful to the Bush Institute for allowing us to feature this special collection and share it with our guests.”
    Bush’s painting hobby first came to light when a Romanian hacker released photos of Dubya’s daubings in February 2013 (later earning a four-year jail sentence for the act). The paintings were also the basis of a 2017 book by the same name, which became a #1 New York Times bestseller. In 2019, he set out to follow up with a book of portraits of immigrants; as Artnet News’s Taylor Dafoe dryly commented when it was published a year later, referring to a notorious press conference at which W. landed on an aircraft carrier and prematurely declared victory in the Iraq War, “Well, mission accomplished.”
    George W. Bush, Army Sgt. 1st Class Michael R. Rodriguez. Courtesy of Grant Miller/George W. Bush Presidential Center via Crown Publishing.
    The exhibition will stay on view for a year. In addition to displaying the portraits, it will serve as a place for veterans to access information about free, high-quality mental and brain health care via a program called Check-In. Thousands of veterans of the post-9/11 wars are homeless; many suffered traumatic brain injuries as a result of the improvised explosive devices, or IEDs, that were used to attack them as they patrolled Iraqi cities.
    Bush’s paintings of veterans were widely derided as hypocritical when they emerged; in the New Yorker, Peter Schjehldahl wrote, “Having obliviously made murderous errors, Bush now obliviously atones for them. What do you do with someone like that?” By the accounts of his painting instructors, Bush takes the activity seriously; he counts Lucian Freud, Wayne Thiebaud, Jamie Wyeth, Ray Turner, Fairfield Porter, and Joaquín Sorolla as influences.
    The United States military operation in Iraq began in 2003, in the wake of the 9/11 terrorist attacks, an armed conflict that spanned eight years. About 7,000 U.S. service members died in post-9/11 war operations according to the Watson Institute for International and Public Affairs at Brown University, which also notes more than 30,000 suicides among service members and veterans of the post-9/11 wars. While it’s difficult to know exactly how many Iraqis died, the organization Iraq Body Count records some 113,728 civilian deaths. Brown University’s Costs of War Project estimates that the conflict ran up a bill of $6.4 trillion.
    “Portraits of Courage” has been touring the U.S. since 2017, opening at the George W. Bush Presidential Center on the SMU campus in Dallas, Texas, before traveling to venues including Crystal Bridges Museum of American Art in Arkansas, and the Museum of the Southwest in Texas. Speaking to CNN at the launch of the exhibition, Bush said of his painting practice: “It keeps me active, so I’m not on the couch chewing potato chips all the time. It’s one of the great learning experiences.”
    Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

  • 113 Shares169 Views

    in Exhibitions

    Two Visionary Women Photographers Collide in Unexpected Museum Showcase

    The work of photographer Francesca Woodman is having a moment, being the subject of both an exhibition at Gagosian in New York and a must-see museum show at the National Portrait Gallery in London. Though her name is reaching new heights of world renown, the young New York photographer has been a critical darling for decades and her works, produced before her tragically early death in 1981 at the age of just 22, have an enduring sense of style and experimental daring.
    This timeless appeal is inevitably foregrounded throughout the impressively original London exhibition, which weaves her works with those of another celebrated historical photographer active a whole century earlier, Julia Margaret Cameron. A careful curatorial eye brings to the fore striking comparisons in which a similar subject matter is approached with mastery, mystery, and invention by the artist, while still very much bearing the essence of their respective eras. Each of these unique talents could, of course, have easily merited an exhibition of their own, yet this pairing does not constrain them.
    Born in Calcutta in 1815, Cameron enjoyed a privileged Victorian upbringing due to her father’s involvement with the colonial East India Company. She and her sisters were known to be outspoken and unconventional, but it wasn’t until Cameron moved to London with her husband in 1845 that she became a member of artistic circles.
    From left to right: Julia Margaret Cameron, The Dream (Mary Hillier) (1869). Courtesy of the Wilson Centre for Photography. Francesca Woodman, Untitled (1979). Courtesy of the Woodman Family Foundation, © Woodman Family Foundation/DACS London.
    Cameron learned about the invention of photography in 1839, while still in her twenties, and first saw a daguerreotype in 1842. Yet she didn’t take up the practice herself until the age of 48, having been given a camera as a present by her daughter. In the last 12 years of Cameron’s life, until her death in 1879, she produced some 900 photographs that evince a highly exploratory approach to the fledgling art form.
    Fast forward 100 years and photography had exploded in popularity, replacing writing as the most ubiquitous means of documenting of daily life. Like Cameron, Woodman received her first camera as a gift from her father. She trained formally at the Rhode Island School of Design (RISD) with stints spent in Rome before moving to New York in 1979 to make it as a photographer. Woodman was highly ambitious and quickly became devastated by what she perceived as a lack of immediate success.
    From left to right: Julia Margaret Cameron, The South West Wind (1864). © The Metropolitan Museum of Art, New York. Francesca Woodman, House #3 (1976).Courtesy of the Woodman Family Foundation, © Woodman Family Foundation/DACS London.
    The works of both photographers are roughly grouped according to themes of portraiture, otherworldly or dreamlike states, classical references, mythology, and the natural world, all of which reveal interesting affinities and departures in terms of staging, costume, focus, and style. Each artist has such clarity of vision that any differences in what could be achieved technically in their respective centuries feel mostly irrelevant.
    Illusionistic effects that push photography beyond the status of a mere record are employed by both, as in the ghostly apparitions that haunt Cameron’s The South West Wind (1864) and Woodman’s House #3 (1976). Both artists seemed to have an instinct for capturing a partial truth and letting ambiguity and the viewer’s imagination fill in the bigger picture.
    From left to right: Julia Margaret Cameron, I Wait (Rachel Gurney) (1872). Photo: The J. Paul Getty Museum, Los Angeles. Francesca Woodman, Untitled from the “Angels” series (1977). Courtesy of the Woodman Family Foundation, © Woodman Family Foundation/DACS London.
    Cameron often photographed close friends and family while Woodman, with a more modern notion of the artist available to her, usually made art using her own body. Either way, each took as a subject what was immediately available to her but imbued it with greater resonance, playing with fantastical elements or mythological allegories. In one nearly supernatural Untitled work from Woodman’s “Angel” series, the artist could almost be said to levitate.
    As the National Portrait Gallery’s wall texts point out, angels have long been seen as able “to move between spiritual and earthly realms, the conscious and unconscious, and are often encountered in dreams or visions.”
    Cameron’s great-niece Rachel was once instructed to adopt poses inspired by the putti from Renaissance paintings. She later called having “a pair of heavy swan’s wings fastened to her narrow shoulders[…] No wonder those old photographs of us, leaning over imaginary ramparts of heaven, look anxious and wistful. This is how we felt, for we never knew what Aunt Julia was going to do next.”
    From left to right: Julia Margaret Cameron, The Astronomer (Sir John Frederick William Herschel) (1867). Courtesy of the RISD Museum, Providence, R.I. Francesca Woodman, These People Live in That Door (1976-77). Courtesy of the Woodman Family Foundation, © Woodman Family Foundation/DACS London.
    Sometimes, both Cameron and Woodman made straightforward portraits of the people in their lives. Woodman’s close friend Sloan Rankin and a one-time boyfriend, Benjamin Moore, appear in many photographs from the late 1970s. Alongside fond Pre-Raphaelite studies of muses and friends like Julia Jackson, Cameron turned her lens on some of the most important luminaries of her age like the scientist Charles Darwin, astronomer John Frederick William Herschel, the poet Alfred Tennyson, and the writer William Michael Rossetti. These animated character studies feel astonishingly ahead of their time.
    Thinking back on the many double-act shows that had more ambition than bite, rarely does this curatorial conceit deserve to be as self-satisfied as here. How can a kinship be found in the oeuvres of two artists who evolved from such starkly different contexts? Rather than getting too caught up in a specific time or place—Victorian-era London or 1970s New York—the comparison pushes us instead towards more expansive interpretations that show already well-defined practices in a new light.
    “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In” is on view at the National Portrait Gallery in London until June 16, 2024. 
    Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

  • 150 Shares139 Views

    in Exhibitions

    ‘Fear and Loathing’ Illustrator Ralph Steadman Kicks Off a Marathon Touring Retrospective

    There’s a call atop Ralph Steadman’s X account to “Enter the Steadmanverse.” Click the link and you travel to a Discord server comprised of two dozen or so sleepy channels. It’s a holdover of Steadman’s flirtation with NFTs that came at a time when web3 was seemingly imminent and inevitable.
    The move spoke of an octogenarian who remains curious, an artist whose instantly recognizable works of spidery lines and grotesque subjects have remained both relevant and in-demand. Case in point, Harley-Davidson and Supreme recently dropped apparel splashed with Steadman ink. But for enduring popularity, look no further than college campuses where Steadman’s status as the irreverent illustrator-in-chief of ‘70s counter-culture has made his work a dorm wall staple.
    Fitting then, that U.S. universities are set to play host to a comprehensive retrospective of Steadman’s varied and long-lasting career. Postponed in 2020, “Ralph Steadman: And Another Thing” makes amends with a marathon tour that begins at American University Museum in Washington, D.C. in September, and will run on-and-off through the fall of 2027.
    Ralph Steadman, In the Beginning from Animal Farm (1994). Photo: courtesy Ralph Steadman.
    As shown by the topical drawings he posts almost daily on social media—recent examples include bat day, scream day, St. George’s Day, world water day—Steadman remains prolific and engaged. The exhibition starts by presenting a young art student with a rather different palate. While studying at London’s East Ham Technical College in the ‘50s, Steadman dabbled with abstraction, creating geometric watercolors that echo the likes of Joan Miró and Wassily Kandinsky. Early sketchbooks and writings tell the tale.
    Steadman’s caustic wit and social conscience, however, were not going to be contained by artfully arranged squares and circles. He began as a cartoonist at Kemsley Newspaper and by the early sixties his biting drawings began gracing outsider magazines such as Punch and Private Eye. He critiqued imperialism, class inequity, and political greed. All of British society, in other words.
    Ralph Steadman, Fear and Loathing in Elko for Rolling Stone Magazine (1991). Photo courtesy Ralph Steadman.
    Still, the going was tough. “I don’t make a lot of money,” he told an interviewer in 1965. This reality, paired with the country’s narrow publishing industry saw Steadman begin traveling back-and-forth to the U.S. in the early ‘70s. There, of course, he was introduced to Hunter S. Thompson and his anarchic vein of reporting, Gonzo journalism.
    Naturally, “And Another Thing” traces this most raucous of relationships, one that rumbled on-and-off for 35 years until Thompson’s death in 2005. But it also delivers a fuller picture of Steadman’s prolific output over the past six decades. Yes, there are nearly 150 original works, but personal photographs, notes, and miscellaneous ephemera help out too.
    “Steadman’s art challenges us, teaches us, and alters how we see the world,” said Andrea Lee Harris, the exhibition’s co-curator. “He has given us all a great gift and raised the bar for the generations following in his footsteps. The exhibition will delight diehard fans and uninitiated audiences eager to learn more.”
    Ralph Steadman, Soldiers in Stripes from Alice Through the Looking Glass (1971). Photo: courtesy Ralph Steadman.
    In contrast to the blood and bones drawings for which Steadman is best-known are his charming illustrations for children’s literature. These predate his work with Thompson and bear names such The Big Squirrel and Little Rhinoceros that offer Steadman working at an altogether different temperature.
    There’s a cluster of political cartoons—the likes of Bill Clinton, Ronald Regan, and Richard Nixon, all savaged in pen and ink—but a balance between Steadman’s extremes typically comes in his illustrations for literature.
    Chief among these is Steadman’s take on Alice in Wonderland in which he lowered characters he had observed around London into Lewis Carroll’s work. White Rabbit is a frazzled commuter, the Cheshire Cat appears looming and leering as though on top of a billboard, the playing cards are burly laborers complete with union numbers. It’s a frazzled world of chaos and corruption. A Steadmanverse, in other words.
    “Ralph Steadman: And Another Thing” will be on view at the American University Museum, Katzen Arts Center, 4400 Massachusetts Ave NW, Washington, D.C., September 7–December 8.
    Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

  • 175 Shares169 Views

    in Exhibitions

    ‘I See Color When I Sing’: Billboard Star Jewel on Her Turn to Painting

    While she may be better known for her music career, Jewel has been a visual artist for just as long as she has been singing and writing songs. Now, 30 years after her meteoric rise on the Billboard charts, she is leveraging her love of art for the next phase of her unique career. 
    “As a kid, drawing and words always came together for me,” the four-time Grammy-nominee told me in a video call in March, explaining how she began pursuing art around the same time that she started writing songs, between 15 and 16. For Jewel, who has synesthesia, these activities are closely related.  
    “I see color when I sing” she said, noting that art has helped “make sense of the world around me.”  
    As a precocious teen at the prestigious Interlochen Arts Academy in Michigan, she delved into philosophy, and was specifically influenced by the writings of French philosopher and mathematician Blaise Pascal, who suggested that an understanding of shape developmentally precedes any understanding of language. 
    “We can relate to the idea of a circle before we ever know the word ‘circle,’” she explained, adding that this foundational recognition of form “really stuck” and laid the bedrock for her lifelong artistic practice.
    Jewel was on a partial scholarship, having raised the remaining school tuition with funds won from yodeling, a skill she picked up performing with her father at hotels, honky tonks, and bars in rural Alaska, where she spent her childhood. Still, she needed a job to support herself, so she applied to be a model for the sculpting class, which was how she was introduced to marble carving—her first formal foray into fine art. Fascinated by what the teacher was explaining about plane changes, Jewel said she kept interrupting to ask questions.  
    Left: Jewel in sculpting class at Interlochen Arts Academy, circa 1990. Courtesy of Jewel. Right: The singer is pictured with one of her paintings in 1997, just before her first Lilith Fair tour. Photo: West Kennerly. Courtesy of Jewel.
    “Eventually [the teacher] told me I needed to stop modeling and just join the class,” she laughed.  
    This early experience with sculpture—both as a model and as a maker—may explain why one of her favorite artists is Amedeo Modigliani. “I was just very struck by how sculptural his painting was, and obviously his sculptures, too,” she said. “His nudes still give me chills when I look at them, they’re gorgeous.” 
    Taking chisel to stone proved a helpful creative outlet for the budding artist to tease out how shape “speaks to the collective subconscious” and helped her be a better songwriter, she said, adding that melody, like sculpture, “is all about form and structure.”  
    Carving out something beautiful from something hard was perhaps nothing new for Jewel, whose mother left when she was eight. To cope with the demands of being a single parent and his own PTSD, a product of the Vietnam War as well as his own abusive upbringing, her father turned to alcohol. At 15, Jewel decided to move out on her own as an emancipated minor with the offer of Interlochen on the horizon, a decision she details in her 2015 memoir, Never Broken. 
    “I knew that statistically, it wouldn’t go well for me,” she said. “Few leave an abusive house and make it on their own at 15, and so for me to feel like I could have a possible better outcome, I knew that I had to be very strategic. I needed to have a strategy for mental health, although mental health wasn’t a word then.” It was through music, poetry, and art that she was able to define a new “emotional language” to express herself more fully and change her patterns of behavior from negative to generative ones. 
    Jewel sings at Crystal Bridges Museum of American Art. Photo: Philip Thomas. Courtesy of the Crystal Bridges Museum of American Art.
    At 19, Jewel was living out of her car in San Diego, where she was playing her songs in coffeehouses, when her music career took off in the 1990s with her debut album “Pieces of You.” Her introspective lyrics and folk-infused acoustic melodies made her a best-selling artist and a fixture on the counterculture Lilith Fair scene—and provided an indelible score to my own moody early teen years.
    But fame, a constant stream of multi-platinum albums, acting gigs, and a grueling tour schedule proved “toxic.” So Jewel made the decision to take a break from music in 2014, following a divorce from her husband of eight years, Ty Murray, a Texas-based world-champion bull rider and professional rodeo cowboy. 
    I asked her if she was able to keep making art, even amid burnout. “Yes, although I would go months without writing songs, and that would scare me,” she said. It was, after all, her livelihood. “But I also realized that, within that same time, I was always drawing.”   
    Using art as a rehabilitation and mental wellness tool is at the center of “The Portal: An Art Experience by Jewel,” opening on May 4 at the Crystal Bridges Museum of American Art in Arkansas. It’s less of an exhibition and more of a 90-minute accessible immersion into art therapy that museumgoers can choose to take advantage of.
    Jewel and the Crystal Bridges team pictured with Retopistics: A Renegade Excavation by Julie Mehretu in the Contemporary Gallery at Crystal Bridges Museum of American Art. Photo: Tom McFetridge. Courtesy of Crystal Bridges Museum of American Art.
    Nestled on 120 acres of forest in the scenic Ozarks, Crystal Bridges “felt like the perfect partner” for the project, Jewel explained, noting that she approached the museum with the idea for a “takeover” back in 2022. “It’s beautiful, and there’s a real connection between art and nature there.”
    Undergirding the “Portal” experience are the “three spheres,” Jewel’s take on the mind-body-spirit connection that she has developed while working with the two mental health initiatives she cofounded: the Inspiring Children Foundation, which offers mentorship and support for at-risk youths and underprivileged families, and Innerworld, a virtual member-driven mental wellness community and therapy “toolkit” of sorts. 
    Jewel outlines the spheres for me, noting that she believes all three need to be in harmony to find mental and emotional balance. The “inner” world is your inner life. “It’s your psychology. It’s your emotional life. It’s your heart’s desire,” she said. Then there is the “outer” or “seen” world, that includes your family, your job, nature, cities, “whatever makes up your daily environment.”  
    Lastly, there is the “unseen” world, which is comprised of that which exists but cannot be empirically known. “I think some people see the unseen as, ‘That’s easy, it’s Jesus,’” Jewel said. “Other people just know they get goosebumps when they see images from the Hubble telescope, or something like that. To me, the unseen sphere is just represented by awe, wonder, and inspiration.” 
    Museum visitors stand in front of Fred Eversley’s Big Red Sphere, a keystone work in Jewel’s “Portal” experience. Photo: Philip Thomas. Courtesy of Crystal Bridges Museum of American Art.
    “Portal” offers what is essentially a meditative art walk, narrated by Jewel (she even wrote the wall labels), through the museum’s contemporary wing, during which she prompts you to reflect on your relationship to the inner, outer, and unseen spheres in front of key works she selected from within the collection. Among these are paintings by Ruth Asawa, Julie Mehretu, Mickalene Thomas, and Sam Gilliam. For Jewel, Fred Eversley’s Big Red Sphere (1985) sculpture appropriately unites things. 
    Additionally, a hologram of the singer will greet visitors at the start of the experience and a choreographed 200-piece drone light show will happen nightly over the museum’s outdoor pond, during which visitors will be invited to wear headphones to listen to a conceptual song, also written and recorded by Jewel. (The drone show culminates in a large red heart, reminiscent of her iconic “Queen of Hearts” costume on the sixth season of The Masked Singer.)
    Technology, she says, is just another tool for storytelling, just like music or painting. “If I had to sum up my artistic practice in one word, it would be ‘storyteller,’” she said. “Art is whatever I can use to tell a story.”
    Left: Jewel shows the Crystal Bridges team the portrait she painted of her son Kase. Photo: Jared Sorrells. Courtesy of Crystal Bridges Museum of American Art. Right: The portrait, titled Double Helix, is on view as part of “Portal.” Courtesy of Crystal Bridges Museum of American Art.
    Two of her own visual art creations are also on view: a portrait of her and Murray’s son, Kase, now 12, that she made after taking a two-week oil painting class in Rome last year, and a 30-inch lucite sculpture titled Chill, which depicts a person meditating and is filled with various pills and medications.
    “For me, it is a conversation about wellness, culture, and the longevity of life versus the quality of life, about what it means to find balance,” the artist said of the sculpture, noting that medication can be lifesaving as much as it can be dangerous. “There really is so much hysteria and judgment around medication, and how we use it.”
    I asked the singer-songwriter, actor, author, poet, activist, and now artist, who turns 50 this year, if she is finding a new level of harmony between her three spheres as she makes her museum debut and takes her visual art practice public. 
    “I think this is the most inspired I’ve ever been,” she said, “as if I’m back at the very beginning of my career.” 
    Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

  • 138 Shares139 Views

    in Exhibitions

    A New Exhibition Examines the Enduring Theme of Motherhood in Art

    You could say that depicting motherhood has been something of an obsession for Old Masters from medieval times well into the Baroque period—after all, the Virgin and Child must be art history’s most iconic motif, where Mary often appears suitably docile and doting of the miniature adult in her arms. It may be evidence enough that none of these images were actually made by a mother, and it would be centuries before most had the chance to professionally paint, let alone offer a more candid portrayal of motherhood based on real experiences.
    The question of how to represent what is, arguably, humanity’s most impressive act of creation, yet one that is consistently maligned, is the subject of “Acts of Creation: On Art and Motherhood” at the Arnolfini in Bristol. The show, curated by critic Hettie Judah, author of the manifesto “How Not to Exclude Artist Parents,” also delves into the history of artist mothers and their struggle to make their voices heard within a male dominated field.
    Installation view of “Acts of Creation: On Art and Motherhood” at Arnolfini, Bristol. Photo: Lisa Whiting, courtesy of Arnolfini and Hayward Gallery Touring.
    As Judah points out, for centuries it was up to male artists to present their most idealized visions of motherhood. “It’s not often that you see art featuring mothers who are bone-tired from night feeds, picking a chaos world of toys off the floor, or negotiating with opinionated toddlers,” she commented. “Our great museums seldom show mothers desperately juggling work and childcare, struggling with postnatal depression, or worrying about their kid getting picked up for a police ‘stop and search’. Real motherhood, in other words, in all of its diversity.”
    Tabitha Soren, My Great American Novel (2007) installed at “Acts of Creation: On Art and Motherhood” at Arnolfini, Bristol. Photo: Lisa Whiting, courtesy of Arnolfini and Hayward Gallery Touring.
    “In the 20th century, women were led to believe that they couldn’t be both an artist and a mother—motherhood was seen as a culturally unserious state, evidence that the woman in question was not fully committed to being an artist,” said Judah. “Until very recently, it was common for art students to be told that lived experience of motherhood was not an appropriate subject for art.”
    Claudette Johnson, Afterbirth (1990). Photo: © Claudette Johnson.
    One of the most fraught topics for expectant mothers living under the rigid strictures of patriarchy is the question of how their body will change after bearing new life. Stretch marks, scars, and folds are worn with pride by artist Claudette Johnson in a startlingly intimate self-portrait from 1990 that shows the artist in a powerful stance that defies stigma.
    Caroline Walker, Bottles and Pumps (2022). Photo courtesy the artist.
    The practical realities of caring for a baby was the subject of several 2022 paintings by Caroline Walker, who helped her sister-in-law through the first few anxious days after birth. In one work, the cleaning of equipment for bottle feeding becomes a painterly still life. The collection of plastic objects has unexpected beauty, despite their bright artificial tones of purple and yellow.
    Billie Zangewa, Temporary Reprieve (2017) installed at “Acts of Creation: On Art and Motherhood” at Arnolfini, Bristol. Photo: Lisa Whiting, photo courtesy of Arnolfini and Hayward Gallery Touring.
    Among the works Judah was particularly excited to include the intimate drawings of labor and delivery by Canadian-born artist Heather Spears, who stayed with a woman for several days to create the series.
    “I have never encountered such a powerful account of the process of labor,” said Judah, “the long duration with its peaks and dips of activity, imagery of women getting up and walking around, napping, embracing their partner, having their cervix measured. It is an extraordinary body of work, and one that has not been seen.”
    Jessa Fairbrother, Role Play (Woman with Cushion) (2017) installed at “Acts of Creation: On Art and Motherhood” at Arnolfini, Bristol. Photo: Lisa Whiting, courtesy of Arnolfini and Hayward Gallery Touring.
    Judah is also particularly fond of a small 2011 self-portrait by Celia Paul called Frank and Me, in which her son lies on a sofa in the foreground and she can be seen smiling in the mirror behind.
    “My sons are in their 20s, and I am so enjoying this new phase of the mother-child relationship now that they are adult men,” the curator said. “This work of Paul’s moves me so much.”
    Paula Rego, Untitled 6 (1999). Photo courtesy Cristea Roberts Gallery.
    The exhibition also features the work of women who have more complicated relationships to motherhood. One example is Paula Rego’s moving “Abortion” series based on her own experiences in the 1950s. It was made in the late 1990s to protest a referendum in Portugal that failed to legalize the vital medical procedure. (It was later legalized in 2007.) These works ruminate on the physical dangers and psychological toll of women being forced to visit back street clinics in secrecy.
    Installation view of “Acts of Creation: On Art and Motherhood” at Arnolfini, Bristol. Photo: Lisa Whiting, courtesy of Arnolfini and Hayward Gallery Touring.
    “Addressing the historic gender gap isn’t just a matter of fitting women into the story of art as it has been told,” said Judah. “It is also crucial that we start asking which stories and which experiences have been excluded, and which lives have been less visible.”
    “Acts of Creation: On Art and Motherhood” is on view at the Arnolfini in Bristol through May 26, 2024. 
    Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

  • 125 Shares149 Views

    in Exhibitions

    5 Must-See Solo Gallery Shows in New York Right Now

    Spring has sprung in New York—and so has the art world’s busy fair season. Whether you’re a local or in town to visit the more than half dozen fairs alighting in the city this May—including Frieze, NADA New York, and TEFAF, as well as newcomer Esther—you’ll also want to make room on your calendar (and take advantage of the spring weather) to also visit some of the gallery shows debuting this month.
    From a New York-native artist taking over a gallery space with site-specific installations to a painter bringing the culture of Aboriginal Australia to a wider audience, these five artists starring in solo shows across the city are not to be missed.
    1. Daniel Walbidi, “Yurlupirti: Forever Without End (eternal)”D’Lan Contemporary, through May 31
    Daniel Walbidi, Winpa (2023). Courtesy of the artist and D’Lan Contemporary.
    Hailing from the Northwestern coast of Australia, Daniel Walbidi (b. 1983) is a Mangala/Yulparitja artist whose practice is centered around learning about and expressing both his culture as well as the natural landscape of his community’s ancestral homeland. A rising star within Australian First Nations artists, the exhibition features 10 recent works by Walbidi that are larger in scale than his previous (and sold out) exhibition with D’Lan Contemporary in May 2023. Employing his signature, meticulous brushwork and vivid color palettes, Walbidi’s paintings illustrate his own deep connection with the coastal desert environment and convey it to a broader international audience.

    2. Rachel Eulena Williams, “Dream Speak”Canada, through June 1
    Rachel Eulena Williams, Soul on Ice (2024). Courtesy of the artist and Canada.
    Marking her second solo exhibition with the gallery, “Dream Speak” sees Rachel Eulena Williams (b. 1991) continue her pursuit of “making painting literal.” Breaking down painting to the essentials, Williams reconstructs these elements (like color, light, texture, and perspective) by using diverse—and sometimes surprising—materials. Colorful fabrics, canvas, rope, fiberboard, hooks, and wire all symphonize, and let viewers explore her distinct artistic vernacular; this includes symbols and iconography that tap the pictographic language of the Bono People, Andinkra, recognized for its ability to concisely express concepts and maxims, as well as pagan symbology.

    3. Ronny Quevedo, “Composite Portals”Alexander Gray Associates, through June 15
    Ronny Quevedo, El valle de la periferia (The Valley of the Periphery) (2023). Courtesy of the artist and Alexander Gray Associates.
    Ronny Quevedo (b. 1981) maintains a practice that consistently draws sharp focus on the intersections and dichotomies between personal and collective histories, dominant and marginalized cultures, and how ideas around identity are shaped. In his newest body of work, Quevedo uses Andean textiles as a starting point to examine pre and postcolonial realities, and in his work literally weaves materials such as paper sewing patterns, metallic leaf on muslin, and carbon copy paper into geometric patterns. The result are works that are deceptively straight forward, full of clues and references that promise to reveal their origins with close and careful looking.
    4. Sahara Longe, “Sugar”Timothy Taylor, May 2–June 15
    Sahara Longe, Good Times / Bad Times (2024). Courtesy of the artist and Timothy Taylor.
    In “Sugar,” Sahara Longe (b. 1994) reconsiders art history and its canonic perspectives to generate new compositional and figurative possibilities. Tapping traditional allegorical motifs—such as Adam and Eve or the reclining Venus—Longe creates entirely new visual interpretations and arrangements, resulting in works that are haunting and timeless. Across all 12 works on canvas in the show, Longe’s deft handling of line and color are brought to the fore, and her use of raw pigments and thick-grain linen make these new works appear from a time gone by, recalling historic modes such as Symbolism or the Bauhaus.

    5. Hugh Hayden, “Hughmans”Lisson, May 2–August 2
    Hugh Hayden, American Gothic (2024). Courtesy of the artist and Lisson Gallery.
    For his second solo exhibition with Lisson this year, Hugh Hayden (b. 1983) creates a site-specific installation for the gallery’s New York space. Employing recognizable materials and motifs in his work, Hayden engages with widely relatable personal themes such as intimacy and desire within a physically explorable context. The show is timed with his 10-year survey exhibition at the Laumeier Sculpture Park, Saint Louis, Missouri, and precedes another major solo exhibition opening this fall at the Rose Museum of Art at Brandeis University, together denoting an important moment in the artist’s career.
    Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

  • 138 Shares169 Views

    in Exhibitions

    An International Biennial Devoted to Queer Artists Is Coming to Detroit

    The Motor City is the venue for an expansive exhibition of queer artists taking place this summer, timed to Pride Month. “I’ll Be Your Mirror: Reflections of the Contemporary Queer” is curated by Detroit artist and high school art teacher Patrick Burton. Its title echoes that of a classic Velvet Underground song to suggest a relationship between art and the viewer, as well as, Burton said, “the importance of visibility and affirmation.”
    “In many respects, we see art as activism, and it’s really important to respond to the many anti-LGBTQ+ bills that are being advanced right now,” said Burton. “When you want to understand a people, you look at its culture. It’s the same for queer people. It’s in June for a reason, to offer an alternative to parties and parades and drag shows, to help viewers to understand who we are.”
    John Criscitello, FGGT (2021). Courtesy of the artist.
    The sprawling show includes more than 800 works spread across 12 venues by 170 artists, including well-known contemporary figures like Eve Fowler, Hillary Harkness, Lyle Ashton Harris, Clarity Haynes, and Wayne Koestenbaum, as well as some historical practitioners such as Baron Wilhelm von Gloeden and George Platt Lynes.
    This is the biennial’s second edition; the first, which was devoted entirely to Detroit artists, was similarly curated by Burton and also took place over the course of Pride Month. This time, the scope is international, with artists from as far as Beijing. The nonprofit organization that’s putting on the show, Mighty Real/Queer Detroit, is made up of just a handful of people, all with day jobs, who are volunteering their time, Burton said.
    Unconventionally for biennial exhibitions, the work is openly for sale; all proceeds go to the artists. The organization’s website includes links to every artist’s website. More

  • 113 Shares119 Views

    in Street Art

    Wall to Wall Street Art Festival in Melbourne, Australia

    Melbourne’s vibrant street art scene takes the next step in its creative evolution with the unveiling of the city’s first official street art precinct, set to transform a long-forgotten industrial pocket of Mordialloc into a hub of creativity and expression. Returning for the first time since the pandemic, Australia’s original street art festival, WalltoWall and Kingston Council are bringing seven of Australia’s top street artists and three acclaimed international artists together to adorn the area with a stunning array of large-scale mural works from 26-28 April. Melbourne has long been revered as an international street art capital, and this groundbreaking project breathing new life into Mordialloc’s industrial laneways, ushers in a new era of artistic innovation and cultural revival for the city. Renowned artists such as Smug, Adnate, Celeste Mountjoy (creator of Filthy Ratbag), George Rose, and French artist Zoer, among others, will lend their talents to the project, infusing the precinct with their unique styles and perspectives. In addition to the tapestry of colourful and eclectic murals, the streets of Mordialloc will come alive on Saturday 27 April with a block party presented by Wall to Wall and Mordialloc’s newest culinary precinct, Urban Ground. The party will feature DJs including Byron Bay’s April Kerry, owner of Fitzroy record store Natural Selection, Charles Eddy, Berlin DJ and artist Blo, and Melbourne artist and DJ, Adnate. Food trucks, market stalls, workshops, tastings, open studios and hourly tours and tastings of contemporary spirits courtesy of renowned local distillery Saint Felix will ensure it’s a party not to miss. The project, curated by Shaun Hossack of Melbourne street art collective Juddy Roller (Silo Art Trail, Wall to Wall, Collingwood Housing Project) in collaboration with Kingston Arts and Mordi Village Trader, will see the transformation of Lamana Road and surrounding laneways into the vibrant Mordi Village Arts and Cultural Precinct. The initiative aims to celebrate and showcase the transformative power of street art while revitalising neglected urban spaces. Hossack said of the event: “Melbourne is known as a mecca for street art but still lacks well curated areas where major artworks can be viewed one after another, like an outdoor gallery. The scale of Wall to Wall is unprecedented in Melbourne’s beachside suburbs and will help cement Mordi Village Arts and Cultural Precinct as a beacon of creativity and community engagement.” “Street art was born in the heart of cities, but with the evolution of Juddy Roller’s Silo Art Trail and Wall to Wall – which originated in Benalla and this year is a multistate offering having just taken place in Murray Bridge – we can expand the artform across Australia” he said. Kingston Mayor Jenna Davey-Burns also expressed her excitement for the project, emphasising the growing importance of street art as a form of public expression and cultural enrichment: “Street art has emerged as one the leading forms of expression without bounds, out there on the walls instead of stuck inside four walls” she said.Take a look below for more photos of the festival and stay in the loop with us for more street art news around the globe. (adsbygoogle = window.adsbygoogle || []).push({}); More