Eliana Willis

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    in Street Art

    “Come what may” by Beast Collective in Emilia, Italy

    Here is the latest piece made by Beast Collective in Emilia, Italy. Entitled “Come what may”, the pasteup was placed on an old abandoned roadman’s house in the province of Bobbio in Northern Italy. As always with the pieces of this collective, there was the recovery of an archive photo of an historical figure, in this case of the Italian playwright Eduardo De Filippo, positioned on an abandoned building, signifying the eternity of this figure and its resistance to the passage of time. Their technique is to first photograph the wall they intend to install the piece on, superimposing the texture of the wall onto the photo, and then placing it onto the building. This allows them to achieve a realistic blending effect between the photo and the wall, following the scratches and cuts on the wall itself.“Eduardo De Filippo’s life and career – Beast says – were a testament to the transformative power of art and the enduring influence of family heritage. His remarkable ability to capture the essence of human nature and portray it with authenticity has secured him a place in the pantheon of Italy’s greatest literary and theatrical figures. Eduardo’s works continue to inspire and move audiences, and his legacy remains a cherished part of Italy’s cultural heritage. As long as there are stages to be graced and stories to be told, Eduardo De Filippo’s impact on the world of theater and cinema will endure.”Take a look at more images below and check back with us soon for more updates. More

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    in Exhibitions

    A Berlin Show Celebrating Dealer Rudolf Zwirner Brings Together 80 Works by Artists He Championed, From Bourgeois to Warhol

    How have some legendary gallerists contributed to the making of art history? An exhibition at the PalaisPopulaire in Berlin is honoring the discerning eye of Rudolf Zwirner, one of the most influential art dealers of all time, on the occasion of his 90th birthday.
    Born in Berlin on July 28, 1933, Zwirner and his then wife Ursula Reppin opened his eponymous gallery in Essen, Germany in 1959, quickly expanding to a second location in Cologne (formerly Kunstmarket Köln) in 1963. He is usually credited with having invented the art fair after co-founding Art Cologne with fellow dealer Hein Stünke and artnet’s founder Hans Neuendorf in 1967. Perhaps most impressive of all, Zwirner brought international attention to the German art scene at a time when it had been greatly diminished by the economic ruin of World War II, Nazi suppression of “degenerate” art, and the exodus of many well-established Jewish dealers.
    “When we started what became Art Cologne, there were just six of us who sold contemporary art, so it was really a risk,” Zwirner told Artnet News in 2021. “There was very little interest in contemporary art at that time. Now, there are 3,000 galleries in Germany that focus on it.”
    In 1992, he retired as an active gallerist but his son David Zwirner, who was born in 1964, has become an art market giant with galleries in New York, London, Hong Kong, and Paris.
    Bringing together some 80 works from the Deutsche Bank Collection, other private collections and museums, the show tells Zwirner’s life story and demonstrates his celebrated ability to spot talented artists in the early stages of their careers and support them in becoming successes.
    Over decades, he worked with many of the biggest names in modern and contemporary art whose works are in this survey, including Louise Bourgeois, Cy Twombly, Andy Warhol, Jasper Johns, Georg Baselitz, Joseph Beuys, Gerhard Richter, and David Hockney. A few standout examples from the more distant past include those by Tiepolo, Dürer, and Gaspare Diziani.
    See a handful of works from the exhibition below.
    Henri Rousseau, The sign as a painter (1903-10). Photo: Alistair Overbruck, © Courtesy Sammlung Zander.
    Matija Skurjeni, Surprise Visit (1958–61). Photo: Alistair Overbruck, courtesy Sammlung Zander.
    Astrid Klein, Untitled (I hermetically locked a man in the room) (1980). Photo: Timo Ohler, © Astrid Klein, courtesy the artist and Sprüth Magers.
    Michael Müller, Epiclesis (2022) from the series “Hades.” Photo: Mathias Schormann, © Studio Michael Müller.
    Gerhard Richter, Bomber (1963). Photo: © Gerhard Richter 2023.
    Gaspare Diziani, Cane and Abel (early 18th century). Photo: Lea Gryze.
    “A Life in Pictures: A Portrait of Seeing for Rudolf Zwirner” is on view at the PalaisPopulaire by Deutsche Bank, Unter den Linden 5, Berlin, through August 14.

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    in Exhibitions

    See the Luminous Paintings Monet Made During His Many Trips to the French Riviera, Now on View at a Show in Monaco

    A new exhibition with nearly 100 paintings by Claude Monet spotlights the artist’s trips to the French Riviera beginning with the first visit with his friend Pierre-Auguste Renoir in 1883.
    The show, titled “Monet in Full Light,” was curated by Marianne Mathieu and is on view at Grimaldi Forum Monaco, a conference center in the sovereign city state along the French Riviera. Three years in the making with the support of the Musée Marmottan Monet in Paris, it coincides with the 140th anniversary of Monet’s first visit to Monte Carlo and the Riviera.
    Monet, then middle-aged, began traveling extensively after death of his first wife, Camille, in 1879. He was invited by Renoir on a trip to the Riviera in December 1883. Their first stop after visiting Paul Cezanne in L’Estaque was Monaco, a place Monet called “the most beautiful spot on the entire Riviera.” The Impressionist painter made two pieces during this first visit that he never exhibited in Paris, as he was then without renown, Mathieu told the news outlet Monaco Life.
    Monet returned alone in 1884 and in 1888, visiting Monte-Carlo, Roquebrune, Bordighera and Antibes. He made his famous paintings showing views of the fort in Antibes in all seasons from Salis Beach during his final visit.
    Around 60 little-seen works Monet made during this era were shown at the Kimbell Art Museum in Fort Worth, Texas, in 1997.
    This is seemingly the first time such a volume of these works has been shown near where he painted them and 23 of them are being exhibited for the first time, according to a news release.
    “Monet’s work is very coherent. From his youth in Le Havre, to the last paintings in Giverny, the painter does not try to paint a motif, but rather a moment. Monet does not paint a landscape, but an atmosphere,” Matthieu said in a statement.
    The exhibition also reveals new understandings about Monet during this era, including precisely where he put his easels and on which visit his paintings were painted.
    Mathieu said Monet painted with “maturity” in his Riviera series, made between 1883 and 1888.
    “Monet discovers himself as the painter of the series,” she said, adding, “Let’s not ask what Monet paints but rather when he paints it. Let’s not look for a motif but for a moment.”
    See more images from the exhibition below.
    Claude Monet, The Rowing Boat (1887). Photo courtesy of Grimaldi Forum Monaco/Musée Marmottan Monet, Paris.
    Installation view of “Monet in Full Light.” Photo courtesy of Grimaldi Forum Monaco.
    Installation view of “Monet in Full Light.” Photo courtesy of Grimaldi Forum Monaco.
    Installation view of “Monet in Full Light.” Photo courtesy of Grimaldi Forum Monaco.
    Installation view. Claude Monet, Villas at Bordighera (1884). Photo courtesy of Musée d’Orsay, Dist. RMN-Grand Palais/Patrice Schmidt.
    Claude Monet, Agapanthes (1914-1917). Photo courtesy of Grimaldi Forum Monaco/Musée Marmottan Monet, Paris.
    “Monet In Full Light” is on view at the Grimaldi Forum Monaco, 10 Av. Princesse Grace, Monaco, through September 3.
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    in Exhibitions

    See Inside Artist Derrick Adams’s Powerful Touring Exhibition That Unpacks the Difficulties Faced by Black Travelers in America

    Derrick Adams’s long-running traveling show “Sanctuary”—first exhibited at the Museum of Art and Design in New York City in 2018—has opened at the Charles H. Wright Museum of African American History in Detroit, Michigan.
    The body of work, on view through September 10, began with Adams wanting to create a tribute to Victor Hugo Green, a New York mailman, and his wife Alma Duke for their accomplishments in creating the annual The Negro Motorist Green Book. The annual travel guide, published from 1936 to 1966 during the Jim Crow era, provided Black travelers with a list of businesses across the country that served Black patrons.
    Adams praised Green for “connecting patrons with Black business owners” around the country during the Jim Crow era with “innovation and problem-solving.”
    “It was very important to see someone who took an initiative in a tumultuous time in history when violence and oppression were existing all around Black Americans,” Adams said while discussing his two years of research into the topic before his body of work was completed.
    “Mr. Green and his wife Alma decided to create possibility through a publication that will connect people as a counter-response to the conditions of society at the time. For me as an artist, I was excited about responding to that history.”
    Installation view of “Derrick Adams: Sanctuary” at the Charles H. Wright Museum of African American History, 2023. Photo courtesy of the Wright Museum.
    The works in “Sanctuary” include large-scale sculptures as well as mixed-media collages and assemblages on wood panels. The collages use pages from the Green Book and other documents, while some pieces feature visual recreations of the locations listed in the travel guide, which served as refuges for Black Americans.
    The artist also studied Black migration from the South to the North over time and particularly was inspired by Jacob Lawrence’s Migration Series “and the mapping around that.” Adams said his work was inspired by Jacobs’ formal aesthetic and color palette, as well as the visual culture at the time.
    “The issue of Black travel is something that is continuous because it is something that is still challenging depending on what part of the country you go to,” Adams said. “The exhibition was really acknowledging the Black traveler, centering them as a primary subject in the work.”
    At the exhibition’s wrap at the Wright, Adams will be debuting new work at “Come As You Are,” his first show with Gagosian, on September 14. The exhibition will feature his new portraits and vignettes centered on the Black figure, whether real or imagined, and incorporating materials such as textiles.
    According to Adams, this new body of work synthesizes ideas previously explored in his practice “in a way that is more seamless and layered formally and conceptually” than in the past.
    “I think this particular body of work, beyond all others, fully utilized various color palettes spread across that are uniquely executed for individual works versus the series overall,” he said. “This particular body of work is my best work to date. I am excited to have it exhibited with Gagosian and I am looking forward to my new relationship with the gallery.”
    See more images from “Sanctuary” below.
    Derrick Adams. Upscale and or Lowbrow. Photo courtesy of Derrick Adams Studio LLC
    Derrick Adams. There’s More Than One Beauty School.. Photo courtesy of Derrick Adams Studio LLC
    Installation view of “Derrick Adams: Sanctuary” at the Charles H. Wright Museum of African American History, 2023. Photo courtesy of the Wright Museum.
    Installation view of “Derrick Adams: Sanctuary” at the Charles H. Wright Museum of African American History, 2023. Photo courtesy of the Wright Museum.
    Installation view of “Derrick Adams: Sanctuary” at the Charles H. Wright Museum of African American History, 2023. Photo courtesy of the Wright Museum.
    Installation view of “Derrick Adams: Sanctuary” at the Charles H. Wright Museum of African American History, 2023. Photo courtesy of the Wright Museum.
    Installation view of “Derrick Adams: Sanctuary” at the Charles H. Wright Museum of African American History, 2023. Photo courtesy of the Wright Museum.
    “Derrick Adams: Sanctuary” is on view at the Charles H. Wright Museum of African American History, 315 E Warren Ave, Detroit, through September 10.

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    in Exhibitions

    See South Korean Rising Star Mire Lee’s Gutsy Debut of Squelching Kinetic Sculptures at the New Museum

    The South Korean artist Mire Lee has been made a name for herself in recent years due to her penchant for making audiences squirm. At the Venice Biennale last year, she appeared in the main exhibition with Endless House: Holes and Drips (2022), a monumental installation in which ceramics in the shape of entangled entrails were strewn across a frame of scaffolding and routinely doused in a thick red glaze. The work was strangely gory and, whether viewers liked it or not, they couldn’t look away.
    The Seoul-born, Amsterdam-based 34-year-old has now opened her first institutional solo show in the U.S. at the New Museum in Manhattan. With walls made of torn fabric drenched in liquid clay and the air thickened by a steam machine, she has turned the 4th floor gallery into a dank, mud-colored stage for a series of new kinetic sculptures. These strange contraptions blend mechanical elements—pumps, motors, steel rods, and hoses—with fabric and cement forms that appear messily organic but are somehow too bizarre to not be manmade.
    In one annexed corner, a crudely formed fountain flows with murky water that is pumped in at the side before swirling around a cement basin and draining away. Suspended from the ceiling is a grotesque bundle of bulging masses held together with ropes in a style vaguely reminiscent of shibari. Together, these rattling, animatronic beings create an unsettling, ever-changing immersive realm. Visitors are invited to have peculiar, bodily experience, that is, if they can stomach it.
    Check out views of the exhibition below.
    Exhibition view of “Mire Lee: Black Sun” at the New Museum until September 17, 2023. Photo: Dario Lasagni, courtesy New Museum.
    Exhibition view of “Mire Lee: Black Sun” at the New Museum until September 17, 2023. Photo: Dario Lasagni, courtesy New Museum.
    Exhibition view of “Mire Lee: Black Sun” at the New Museum until September 17, 2023. Photo: Dario Lasagni, courtesy New Museum.
    Exhibition view of “Mire Lee: Black Sun” at the New Museum until September 17, 2023. Photo: Dario Lasagni, courtesy New Museum.
    Exhibition view of “Mire Lee: Black Sun” at the New Museum until September 17, 2023. Photo: Dario Lasagni, courtesy New Museum.
    Exhibition view of “Mire Lee: Black Sun” at the New Museum until September 17, 2023. Photo: Dario Lasagni, courtesy New Museum.
    “Mire Lee: Black Sun” is on view at the New Museum, 235 Bowery, New York, through September 17.
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    in Exhibitions

    20 Japanese Artists Have Reinterpreted Fans’ Favorite Pokémon Characters as Artisanal Objects, Now on View in Los Angeles

    After the U.S. Navy forced Japan to forgo two-and-a-half centuries of relative isolation in 1853, porcelain, lacquerware, and woodblock prints began flooding westward, launching the Japonisme aesthetic movement. In the 20th century, another Japanese export seized the global imagination: Pokémon, a wildly disparate collection of pocket creatures that spawned a multibillion-dollar empire.
    An exhibition at Japan House Los Angeles merges these cultural phenomena, colliding traditional and modern, kitsch and refined. “Pokémon X Kogei,” which runs through early 2024, presents interpretations of the fantastical creatures by 20 Japanese artists spanning pottery, metalwork, textiles, and mixed media.
    The show, which debuted at Japan’s National Crafts Museum in Ishikawa this spring, offers a poetic rather than a historical explanation for comingling the two worlds. The elements into which the Pokémon are organized, such as fire, water, ground, and electric (there are 18 in total), are reflected in the processes of art making. A vase, for instance, is formed from ground and water, and then fired in an electric kiln. Japan House also likens the endeavor of Pokémon trainers in rearing their digital pets to the process of artisans learning their craft.
    Sadamasa Imai, Venusaur (2022). Photo: Taku Saiki
    “Pokémon X Kogei” is organized into three sections, each of which represents a different artistic approach to playing with the Pokémon universe.
    In Appearance, artists turn the digital physical, recreating the form and personality of Pokémon with attention paid to their skin, fur, and movement. Sadamasa Imai’s cranky-looking Venusaur, for instance, hones in on the rugged texture of its skin and the heaviness of its gait.
    With Stories, the artists inhabit the world of the Pokémon, offering a more abstract take on their lives and journeys. One offering comes from textile designer Reiko Sudo, who explores the franchise’s most iconic creature, Pikachu, dangling from an amber forest of lace that plays with traditional paper-cutting.
    Taiichiro Yoshida, Jolteon (2022). Photo: Taku Saiki.
    The final section, Life, brings Pokémon into the everyday objects—something that may already be a reality for many of the visitors. The works here, admittedly, are rather more elevated than a mug plastered with Squirtle. Keiko Masumoto, for example, used a wood-fired kiln, the likes of which originate from the 12th century, to create a range of fire element Pokémon including Charizard and Vulpix.
    “We’re excited to present this unique collaboration between one of the biggest entertainment properties originating in Japan and some of the country’s most talented craft artists,” Japan House Los Angeles’ president Yuko Kaifu said. “It will art enthusiasts and gamers alike.”
    For a franchise born in the 1990s and now successfully embraced by a new generation, chances are Kaifu’s right.
    “Pokémon X Kogei” is on view at Japan House Los Angeles, 6801 Hollywood Blvd, Los Angeles, from July 25, 2023 to January 7, 2024.

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    in Street Art

    ‘Started Again’ – Dilk Print Drop

    Started Again is Bio Editions debut print release by Nottingham based graffiti artist, Dilk. Three editions of the print will be available to purchase at 3pm BST on Thursday 3rd August via their online store.Adapted from his ‘True Love’ canvas exhibited as part of the permanent collection at STRAAT Museum Amsterdam, each 87 x 67cm print celebrates this monumental 3.5 x 5m original artwork in a new form.Notts lad Steven Dilks began his long-standing career in graffiti as a writer in the 1980’s, prolifically producing work on the streets from a young age. Taking early old school graffiti influences and turning them into an ever-evolving contemporary art style – combined with his hunger for travelling and new connections – has established Dilk as an important part of the UK’s graffiti history.Today his recognisable abstract style situates his work in leading urban contemporary museums as it takes a contemporary twist on traditional graffiti lettering. Combining bold marks and colours with intricate finer details, each new piece maps an ever-changing amalgamation of abstracts, dreamlike colour pallets, sharp lines and drip work. Cop one today while you can. More

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    in Exhibitions

    David Hockney Has Painted a Striking Portrait of Harry Styles, Set to Be Unveiled at the U.K.’s National Portrait Gallery

    A portrait of Harry Styles by the artist David Hockney has been unveiled ahead of a major exhibition of new paintings by the British artist opening at the National Portrait Gallery in London this fall.
    The pop star is recognizably himself in the work, with his hair swept back, donning a red-and-yellow striped cardigan and a string of pearls around his neck. The portrait was started in May 2022, when Styles visited David Hockney at his studio in Normandy, France.
    “David Hockney has been reinventing the way we look at the world for decades,” Styles told Vogue. “It was a complete privilege to be painted by him.”
    David Hockney, Harry Styles, May 31st 2022. Photo: Jonathan Wilkinson, © David Hockney.
    Styles’s likeness of is one of more than 33 new works that were completed between 2021 and 2022, and will appear in the upcoming Hockney exhibition, which opens on November 2. Titled “David Hockney: Drawing from Life,” the show is an updated version of an earlier presentation of portraits by Hockney that opened at the National Portrait Gallery just weeks before lockdown in 2020. This show included drawings in a range of media, from pencil and ink to watercolor and the iPad, which Hockney famously pioneered as a new tool for making art.
    Since then, the National Portrait Gallery has undergone a major refurbishment and rehang, and the moment has finally arrived to give David Hockney his due. Unlike the 20-day run of the ill-fated original show, the restaged, expanded show will remain open until January 21, 2024. Tickets went on sale today.
    David Hockney, Self Portrait, 22nd November 2021. Photo: Jonathan Wilkinson, © David Hockney.
    With the latest additions from 2021 and 2022, the bumper exhibition now boasts around 160 works, both new and old. Visitors attracted by the star appeal of Styles will also be moved by Hockney’s intimate portrayals of friends, like the textile designer Celia Birtwell, family members, including the artist’s mother and his partner Jean-Pierre Gonçalves de Lima, and a new self-portrait of Hockney himself in a flat cap and tweed suit.
    Other highlights include pencil drawings made in Paris in the early 1970s, a selection of self-portraits from the 1980s, and My Parents and Myself, a 1975 group portrait that Hockney abandoned, greatly upsetting his parents. He later produced another version, My Parents (1977), which belongs to the Tate, but the lesser known, rejected work remained in hiding until it was debuted to the public for the first time during the exhibition’s original 2020 run.

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