Eliana Willis

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    Helen Bur in Boulogne-sur-Mer, France

    UK based artist Helen Bur has just completed a new painting in Boulogne-Sur-Mer, France. Entitled “Shift of the centre” the mural, approx 12x9mt, was painted for the Boulogne-Sur-Mer street art project organised by Amziane Abid. With a strong connotation linked to the concept of motherhood and revaluation of one’s ego, a mother draws a new center around her child, to signify new boundaries of one’s love and one’s perspective.Through her art, Helen Bur shows that beauty can be a catalyst for change, inspiring individuals to take action and make a positive impact on the world around them. Each piece tells a story, encapsulating the essence of the neighborhood it inhabits. Her murals often reflect the history, culture, and aspirations of the community, forging a connection between the art and its surroundings. This ability to bridge the gap between art and life is what makes Helen Bur’s work so magnetic. Her unique blend of creativity, storytelling, and social consciousness has redefined the boundaries of art, showing that the streets can be both a canvas and a stage for meaningful expression. With every stroke of her brush and every splash of color, she unveils the soul of the city, inviting us all to look deeper, think harder, and embrace the beauty that surrounds us, even in the most unexpected of places. Take a look at more images below and check back with us soon for more updates. More

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    in Exhibitions

    Photographers Recreate Old Master Paintings in Witty and Profound Ways in a New Show at a Princeton University Art Gallery

    Knowingly or not, every artist references the history of their craft eventually. Some do it to situate their own work in the lineage of greats, others to question the monolithic canon.  
    Recently opened at the Princeton University Art Museum’s gallery Art on Hulfish is an exhibition of lens-based artists who look to Leonardo, Van Eyck, and other Old Masters for material. Their strategies and intents vary but ultimately lead to the same comforting truth.  
    If this sounds like homework, it’s not. The show, like the last gasps of summer vacation alongside which it arrives, is light and warm. The art historical easter eggs are there for the nerds, but so is Vik Muniz’s charming 1999 photograph of the Mona Lisa recreated, in Warholian fashion, with peanut butter and jelly. You don’t need a PhD to appreciate what the artist is doing with that picture.  
    Vik Muniz, Double Mona Lisa (Peanut Butter and Jelly) (1999). © Vik Muniz.
    “Some of the art is serious. But I hope people come and laugh,” said Ronni Baer, the Princeton curator who organized the show. For her and the museum, the show checks several boxes. It’s historical but also contemporary, educational but enjoyable. It’s legible, and it also serves to remind visitors of the museum’s programming while its main building is being reconstructed on campus.  
    (David Adjaye, the Ghanaian/British architect recently accused of sexual harassment and assault, designed the new Princeton University Art Museum. Though Adjaye has stepped away from numerous projects in light of the allegations, Princeton has said that the museum is too deep into construction for the school to distance itself from him now. The new museum is expected to open in 2025.) 
    Ori Gersht, Pomegranate (Off Balance) (2006). Courtesy of the artist.
    The exhibition, Baer said, points to the past but feels like the present. “The idea of searching for identity is something embedded in a lot of this work—and it’s as relevant then as today,” she said, referring to works like Yasumasa Morimura’s Daughter of Art History (Princess A) (1990), for which the older male artist recast himself as the young female subject of Diego Velázquez’s Portrait of the Infanta Margarita Aged Five (1956), and Nina Katchadourian’s “Flemish Style” self-portraits made in an airplane bathroom.  
    As with these stately Renaissance portraits, the still-life is a popular point of departure in the show. Included are pictures of bouquets by Sharon Core, who painstakingly grows her own horticultural specimens, and Bas Meeuws, who pulls examples from his personal library of floral photographs and reassembles them digitally.  
    A 2006 video by Ori Gersht recreates Juan Sánchez Cotán’s Quince, Cabbage, Melon, and Cucumber (circa 1600) with pomegranate substituted in—a symbol of the violence that defined the artist’s childhood in Tel Aviv. (In Hebrew, the word for “pomegranate” also means “grenade.”) Gersht also layers on a reference to Harold Edgerton as a slow-motion bullet pierces the pomegranate halfway through.
    Jeanette May, NY Tech Vanitas: Dot Matrix (2018). Courtesy of the artist.
    Nearby, Jeanette May’s NY Tech Vanitas: Dot Matrix (2018) nods to the eponymous genre of still-life paintings popularized by the Dutch in the 17th century, which employed objects of pleasure to remind viewers that our time on this mortal coil is limited and shouldn’t be wasted on indulgences. But instead of the decadent snacks and emptied wine carafes favored by Golden Agers like Willem Claesz Heda, May has filled her frame with pieces of outmoded, obsolescent tech: flip-phones, a CD-ROM, a printer that uses—gasp—perforated paper. 
    “All of it adds up to nothing, both then and now,” Baer said, somewhat jokingly, before putting a bead on the central idea of the show. “These themes,” she went on, “are centuries old. They’re human concerns about identity and the fleetingness of life and about how we choose to live.” 
    “Art about Art: Contemporary Photographers Look at Old Master Paintings” is on view August 19 through November 5, 2023, at the Princeton University Art Museum’s Art on Hulfish gallery. 
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    in Exhibitions

    The National Mall’s First Outdoor Public Art Show Celebrates Diversity With Sculptures by Derrick Adams, Wendy Red Star, and More

    After years of studying public sculptures across the U.S. to better understand how these monuments tell the story of our nation’s history, Monument Lab, a public art nonprofit based in Philadelphia, has just erected six of its own on the National Mall in Washington, D.C.
    Titled “Pulling Together,” the temporary exhibition, curated by Monument Lab’s Paul Farber and Rutgers University–Newark professor Salamishah Tillet, features new work by Derrick Adams, Wendy Red Star, Paul Ramírez Jonas, Vanessa German, Tiffany Chung, and Ashon T. Crawley.
    It is the first curated outdoor exhibition on the mall—and the first phase of the organization’s new public art initiative “Beyond Granite,” which hopes to bring more inclusive, equitable, and representative commemorative artworks to the heart of the capitol.
    “The mall remains a symbol of our Democratic ideals as a nation. ‘Beyond Granite: Pulling Together’ does not shy away from those aspects in our history that can be very hurtful to Americans. We must tell those untold stories fiercely,” Charles Sams, director of National Park Service, said at the exhibition’s unveiling. “We are only stronger by our diversity. Without it, ecosystems collapse.”
    Vanessa German, Of Thee We Sing (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. (detail). Photo by AJ Mitchell, courtesy of Monument Lab.
    Founded in 2012 by Farber and Ken Lum, Monuments Lab rose to new prominence in the wake of the George Floyd protests, which saw activists vandalize and forcibly remove Confederate monuments. The question of what to do with public memorials with problematic histories sparked a nationwide debate and numerous court battles—and also prompted a wider reevaluation of who is honored in town squares across the country.
    Monument Lab was the inaugural recipient for the Mellon Foundation’s “Monuments Project,” a $250 million campaign to change the face of American monuments.
    Paul Ramírez Jonas, Let Freedom Ring (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. (detail). Photo by AJ Mitchell, courtesy of Monument Lab.
    The philanthropic organization’s $4 million research grant allowed Monument Lab to conduct a comprehensive audit of national, state, and local monuments in the U.S. What it found was of the 50 most-memorialized figures, 42 were white men, and 25 owned slaves.
    In organizing “Pulling Together,” Farber and Tillet aimed to create monuments that would honor the untold stories that have been left out of America’s public landscapes, showcasing them alongside famed memorials to the Founding Fathers and those who have fought on behalf of America.
    The artist selected for the project represent a diverse group—three Black, one Latino, one Asian, one Native American, and half of them women.
    Vanessa German, Of Thee We Sing (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. Photo by AJ Mitchell, courtesy of Monument Lab.
    At the Lincoln Memorial, German pays homage to the renowned Black singer Marian Anderson, who famously performed in concert at the monument, back in 1939, when the nation’s capitol was still segregated. The sculpture incorporates historical photographs of the event, as well as steel Sandhof lilies, native to Africa, and blue bottles that make up the singer’s skirt, as a reference to their spiritual significance to enslaved Africans who lived on the Gullah in the Lowcountry.
    Anderson was also the point of inspiration for Jonas, who has created a carillon sculpture titled Let Freedom Ring with 32 automated bells that play “My Country ‘Tis of Thee”—part of the set list for her performance. The public is invited to ring a 600-pound bell beneath the tower to sound the final note in the song.
    Paul Ramírez Jonas, Let Freedom Ring (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. Photo by Paul Ramírez Jonas.
    Another interactive project is Adams’s America’s Playground: DC, a functional children’s jungle gym also meant to recall the history of segregation. One half of the piece is brightly colored, the other in shades of gray, bisected by a historical photograph of Black and white children playing together at a D.C. playground just days after the U.S. Supreme Court ruling Bolling v. Sharpe declared it unconstitutional to segregate D.C. schools.
    For Adams, installing a playground at the heart of U.S. politics is also symbolic. “It’s a place where you have to learn negotiation,” he told the Washington Post. “It’s a place where you have to learn to take turns. It’s a place where you understand leadership, and take risks.”
    Derrick Adams, America’s Playground (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. Photo by Florie Hutchinson.
    For the Living, Tiffany Chung’s installation next to the Vietnam Veterans Memorial, is a monumental world map dedicated to Southeast Asian immigrants and refugees, tracing their diaspora due to the war.
    Red Star’s piece, The Soil You See…, draws a parallel between the Apsáalooke (Crow) Nation chiefs who signed U.S. government treaties and the 56 signatories of the Declaration of Independence, by placing a large sculpture of a thumbprint on which she’s inscribed the names of those Indigenous leaders near the mall’s Declaration of Independence Memorial.
    Tiffany Chung, For the Living (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. Photo by AJ Mitchell, courtesy of Monument Lab.
    “What I noticed is that there really isn’t any color represented on the Mall,” the artist told the Post. “That was surprising to me. Everything is, like, the color of the natural materials the monuments are made of. So my thumbprint is red.”
    Finally, there is Crawley’s HOMEGOING, an audiovisual memorial to the victims of the AIDS crisis located on the site of the first display of the AIDS Memorial Quilt in 1987. A writer and musician, the artist has installed speakers amid a series of small stages that play a three-movement composition that incorporates music from Black churches, as a tribute to Black queer musicians, as well as a reading of the names of some of those who have died from AIDS.
    Ashon T. Crawley, Homegoing (2023) during installation for the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. (detail). Photo by AJ Mitchell, courtesy of Monument Lab.
    The exhibition, which runs for a month, is a collaboration between the National Capital Planning Commission and the Trust for the National Mall.
    “Beyond Granite: Pulling Together” is on view at various locations on the National Mall, Washington, D.C., August 18–September 18, 2023. 
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    in Exhibitions

    ‘I Never Wanted to Be Avant-Garde’: Heji Shin Doesn’t Claim Her Provocative Photographs Are Intellectual, But Many of Her Biggest Fans Are

    There are no naked bodies in “The Big Nudes,” Heji Shin’s new show at 52 Walker—at least not the kind implied by the title. Instead, what you’ll find are giant pictures of pigs, shot against a studio backdrop, and MRI scans of the artist’s own brain. Both subjects are technically bare, but this is not exactly the stuff of late-night sexts.
    For some, Shin inspires “emperor’s new clothes” doubts. Her irreverent, provocative pictures have found fans in bleeding-edge fashion brands and art institutions, but for others, they flummox and inflame. There’s a good chance “The Big Nudes” will generate the same range of reactions.   
    “I’m not that subtle,” the artist and editorial photographer said, deadpan, during a recent Zoom interview. She was sitting in an old farmhouse in the Hudson Valley, which she recently purchased and is trying to fix up. Born in South Korea, raised in Germany, and now mostly based in New York, Shin exudes a cosmopolitan cool that makes it hard to picture her doing housework in the sticks. “I don’t claim any intellectual approach in my art practice,” she went on. “I never wanted to be avant-garde.” 
    Heji Shin, 2023. © Heji Shin. Courtesy of the artist and 52 Walker.
    As with her 2020 exhibition “Big Cocks,” which exclusively featured photos of roosters, Shin uses the title of her new show as bait. “The Big Nudes” also nods to a 1981 portfolio of the same name by the late fashion icon Helmut Newton (which does feature a lot of naked bodies). Tellingly, Shin is an avowed admirer.
    Critics of Newton’s work point to its objectification of female bodies. Susan Sontag once called him a “misogynist” who “humiliates women.” But others see genuine affection: “The true subject of his photographs, as rooted as they were in male fantasy, was the awesomeness of feminine power,” Variety critic Owen Gleiberman wrote in 2020, echoing a common—if somewhat flimsy—pro-Newton rebuttal.
    Shin shares Newton’s wit and sense of style, and she similarly revels in the thrill of the gaze, even—or especially—if that gaze is a little prurient. But it’s not the space of “male fantasy” that her pictures explore. What she’s interested in is difficult to put a finger on, but it has something to do with the economy of images in the 21st century, where news and products and porn all blur together in the fight for real estate on our screens. 
    That’s the space where Shin’s work lives. She photographs farm animals like pinup models and lovers like documentary subjects. Her photos twinkle with a commercial polish, but what they’re selling isn’t clear.  
    Heji Shin, You’ve come a long way, baby! (2023) © Heji Shin. Courtesy of the artist and 52 Walker.
    If punny titles are one of Shin’s signatures, so are odd pairings. She’s shown appropriated images of the Kardashians next to illustrations of A.I.-generated avatars breastfeeding and pictures of monkeys next to shots of role players recreating war scenes. As with those combos, the ties between the swine and brains of “The Big Nudes” are not obvious. (The MRI scans were generated specifically for this show and did not come from a health scare, Shin pointed out.)  
    It’s easier to map these new pictures as coordinates in the broader constellation of Shin’s work, where, say, the “Big Nudes” birds relate to the “Big Cocks” pigs, which in turn point to the NYPD officers penetrating each other in her 2018 exhibition “Men Photographing Men.” “I think [they exist in] the same cosmos,” she said. “When you’re interested in certain archetypes, then one leads to another, one references the other.” 
    Heji Shin, Big Nude II (2023). © Heji Shin. Courtesy of the artist and 52 Walker.
    Shin’s current exhibition isn’t going to inspire the backlash that some her previous efforts have. The “Men Photographing Men” pictures made headlines, as did her 2017 Eckhaus Latta campaign, for which she shot real couples mid-coitus. The 2019 Whitney Biennial featured her two most infamous series: “Baby” (2016), which captured shriveled newborns emerging from their mothers, and “Kanye” (2018), for which she documented the eponymous rapper at the height of controversy and on a monumental scale.  
    In past interviews, Shin deflected questions about taste. “I thought people would have more humor,” she once said of audience responses to her 2018 Kunsthalle Zurich show, which featured the “Kanye” portraits. “They could really only see one layer of the work.” 
    Whether or not she agreed with the taboos others identified in her work, it’s clear Shin knew what she was doing. “There used to be a time when a certain kind of outrage would give meaning, in a certain context, to a work,” she said. But more recently, the artist has grown bored of provocation. “Maybe I’ve just changed,” she explained. “Back then, I think it was more interesting to see certain kinds of reactions. Now I don’t think it’s interesting.”  
    Installation view, “Heji Shin: The Big Nudes,” July 21–October 7, 2023, at 52 Walker. Courtesy of 52 Walker.
    Shin paused, eyes to the sky. “I think you choose your battles,” she continued. “I think that my battle is definitely more about doing art that interests me than going into a dialogue with people that I’m not interested in.” 
    If the artist is in dialogue with anybody in “The Big Nudes,” it might be herself. At the center of the show is a freestanding glass pyramid, inside of which floats a 3D hologram of her brain, imaged from the MRI scans. It’s a work unlike any Shin has shown before, and yet it ties everything around it together. The real pleasure of “The Big Nudes,” it turns out, is seeing an artist trust her vision enough to indulge her singular impulses. Literally and figuratively, her mind is on display.  
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    in Street Art

    The Louvre x CASETIFY New Collection

    Global creative brand CASETiFY announces its second collaboration with the Louvre in a highly anticipated drop that provides a modern interpretation of the museum’s architecture and includes customizable options. Enthusiasts can purchase the collection at casetify.com from today August 9.Taking inspiration from the global impact and cultural influence of its most celebrated artworks, the accessory designs collection includes a modern interpretation of the most celebrated artworks in the world, taking you on an imaginative tour through the museum’s galleries. This highly-anticipated second collection arrives after the great success of the first one and pays homage to the world-class museum’s architectural and artistic wonders. It includes artful tech accessories inspired by the Louvre ‘s iconic architecture, paintings, and sculptures. The collaboration features a curated selection of the Louvre’s most treasured masterpieces such as Mona Lisa by Leonardo da Vinci.Some of the accessory designs showcase the architectural features of the iconic museum such as the Louvre pyramid. The mesmerizing grid design offers an imaginative reinterpretation of the art’s endless reach and zooms in on the tiniest details of the glass structure and its rhombuspanes.For those seeking a highly personalized accessory in the most authentic Louvre style, CASETiFY allows customers to personalize “Le Billet”, an imaginary Louvre’s entrance ticket, with their own name, as a piece of memorabilia that can take art enthusiasts on new journeys of imagination. The design comes with motifs from important Louvre artwork such as Mona Lisa, Victoire de Samothrace, Sphinx de Tanis, and more.Accessories in the collection will retail for $28 – $98 USD and can be purchased both at casetify.com and CASETiFY Studio shop locations globally.CASETiFY is a global lifestyle brand and home to the first and largest platform for customized tech accessories. Created with the highest-quality materials and most cutting-edge designs, CASETiFY’s products empower self-expression by turning your personal electronics into highly designed, stylishly slim, drop-proof accessories. Known for tapping top artists, big celebrities and creatives for its Co-Lab program, CASETiFY gives brands and individuals the opportunity to share their unique visions with the world. With 18 retail shops and growing, CASETiFY Studio provides a one-stop, visual retail experience where customers can customize their accessories on the spot. For more information on CASETiFY, its stores, partners and products, please visit www.CASETiFY.com. More

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    New Murals by David de la Mano and Pablo S. Herrero in Florida, USA

    Pablo S. Herrero and David de la Mano have returned to Winter Haven, Florida for the third time in 13 years, their bond with the city just growing a bit more. In some way, they are already part of a place that has treated them with respect and affection from the beginning. On this occasion they have painted 3 new pieces.They have painted a new whale with a variety of messages, including “The Calm (Route).”They were also able to jointly paint a very special piece called “The Sound.” This is a complex work that is charged with vibrations, resonances, echoes, screams, and murmurs.Finally, the artists were fortunate enough to be able to paint “Breath,” a work inspired by another that David and Pablo painted many years ago on an old bridge in Porto, Portugal.Check out below for more photos of the murals. More

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    in Exhibitions

    A Cache of Paul McCartney’s Photographs Gives an Insider’s View to the Beatles’ Meteoric Rise to Fame

    As Beatlemania spread across the globe during the early 1960s, the Beatles found themselves in a whirlwind of flashing cameras and suddenly their faces were everywhere. Until now, however, we have relatively little idea of what the experience was like from their perspective. For the first time, Paul McCartney is showing the public over 250 photographs that he took between November 1963 to February 1964 in a show that has inaugurated the temporary exhibition galleries at the newly renovated National Portrait Gallery.
    Most of the photographs are either of McCartney himself or his bandmates John Lennon, George Harrison, and Ringo Starr, and were taken at a time when the Beatles shot to fame in the United States. In one series, they are shown rehearsing for a pivotal TV appearance on the Ed Sullivan Show in February 1964 that was watched by an audience of 73 million. That same month, frenzied fans are caught on camera chasing the group’s car down West 58th Street in New York and McCartney also recorded a series of personal mementos from a beach holiday in Miami.
    “Looking at these photos now, decades after they were taken, I find there’s a sort of innocence about them,” said McCartney in a press statement. “Everything was new to us at this point. But I like to think I wouldn’t take them any differently today. They now bring back so many stories, a flood of special memories, which is one of the many reasons I love them all, and know that they will always fire my imagination.”
    Many of the photographs were recently printed for the first time, having been left as negatives in McCartney’s personal archive and only rediscovered by the musician in 2020. Presented alongside McCartney’s own reflections, they offer a fresh behind-the-scenes lens on the famous story of how four young men from Liverpool became global superstars and redefined the meaning of celebrity for the modern era.
    “Paul McCartney Photographs 1963-64: Eyes of the Storm” runs through October 1 before traveling across the pond to the Chrysler Museum of Art in Norfolk, Virginia, where it will run from December 5, 2023, to April 7, 2024. A book of photographs paired with McCartney’s recollections from the period has also been published by Penguin Press in the U.K. and W.W. Norton in the U.S.
    Check out images from the exhibition below.
    Paul McCartney, George looking young, handsome and relaxed. Living the life. Miami Beach, February 1964 (1964). Photo: © 1964 Paul McCartney.
    A visitor looks at photographs taken by Paul McCartney in Miami. Photo: © National Portrait Gallery, London.
    Paul McCartney, John and George, Paris. 1964 Photo: © 1964 Paul McCartney.
    A visitor looks at photographs taken by Paul McCartney while rehearsing for The Ed Sullivan Show. Photo: © National Portrait Gallery, London.
    Paul McCartney, Self-portraits in a mirror, Paris, 1964 (1964). Photo: © 1964 Paul McCartney.
    “Paul McCartney Photographs 1963-64: Eyes of the Storm” at the National Portrait Gallery. Photo: © National Portrait Gallery, London.
    Paul McCartney, Photographers, Central Park, New York, February 1964 (1964). Photo: © 1964 Paul McCartney.
    A visitor to the National Portrait Gallery looks at photographs taken by Paul McCartney in Paris, 1963-64. Photo: © National Portrait Gallery, London.
    Paul McCartney, The crowds chasing us in A Hard Day’s Night were based on moments like this. Taken out of the back of our car on West Fifty-Eight, crossing the Avenue of the Americas. New York, February 1964 (1964). Photo: © 1964 Paul McCartney.
    “Paul McCartney Photographs 1963-64: Eyes of the Storm” at the National Portrait Gallery. Photo: © National Portrait Gallery, London.
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    Luke Cornish – Dissimulation

    Sydney-based artist Luke Cornish, aka ELK, showcases his latest body of work, ‘Dissimulation’, at Melbourne’s Oshi Gallery. A collection of over 150 hand-sprayed stencils incorporating international currency into the paper, this is an examination of freedom, power, and a world forever changed by the fallout from Covid. More