Art Archivi ~ Page 12 of 258 ~ art-news.space - All about the world of art and culture!

More stories

138 Shares189 Views
in Art
Elemental Shifts and Enigmatic Narratives Anchor Rupy C. Tut’s Mystical Paintings
by Aurelia Butler 3 February 2025, 12:58
“A River of Dreams” (2024), handmade pigments on linen, 62 x 42 1/4 x 2 inches framed. Photos by Phillip Maisel. All images courtesy of the artist and Jessica Silverman, San Francisco
Elemental Shifts and Enigmatic Narratives Anchor Rupy C. Tut’s Mystical Paintings
February 3, 2025
ArtClimateSocial Issues
Kate Mothes
Share
Pin
Email
Bookmark
Verdant scenery inhabited by vibrant wildlife and graceful feminine figures center in the work of Rupy C. Tut, whose paintings (previously) draw upon her Sikh ancestry and experiences emigrating from India as a young girl. “As an environmentalist and Indian-American woman, she never takes place for granted,” says a statement from Jessica Silverman Gallery, which represents the artist.
Tut’s ethereal works tread the boundaries between abstraction, portraiture, pattern, and traditional Indian painting. Her compositions introduce narratives—often captivatingly mysterious—that highlight enigmatic mystical, elemental, and spiritual phenomena.
“Bursting with Clouds” (2024) handmade pigments on linen, 41 1/2 x 61 1/2 x 2 1/4 inches framed
The artist’s subjects typically exist front-and-center, like in “A River of Dreams,” in which a figure sits in a stream and observes a lily while dark clouds move in above. Motifs of darkening skies and dramatic change continue in recent works like “Bursting with Clouds” and “The First Rain.”
Oscillating between idyllic paradises, anxieties around climate disasters, and gender constraints, Tut focuses on female figures, turning the tables on a genre that typically focuses on male achievements. “I question traditional roles and labels while preserving traditional practices,” she says.
Tut was a 2024 recipient of the Joan Mitchel Foundation Fellowship, and her work is on view in the group exhibition About Place at San Francisco’s de Young through the end of November. You can explore more on her website and Instagram.
“A Place Dear to Me” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 1/4 inches framed
“The First Rain” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 1/4 inches framed
“Riding my Thunder” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 inches framed
“Where Dreams Flow” (2024), handmade pigments on linen, 42 1/8 x 82 x 2 inches framed
“Bowing to the Cosmos” (2024), handmade pigments on linen, 61 3/8 x 41 5/8 x 2 inches framed
“Archipelago” (2024), handmade pigments on linen; diptych, 61 1/2 x 83 x 2 1/4 inches overall, framed
“Escaping the Heat” (2024), handmade pigments on hemp paper, 13 3/4 x 18 3/8 x 1 1/2 inches framed
“A Natural Thought” (2025), handmade pigments on linen, 81 1/2 x 41 1/2 x 2 inches framed
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
150 Shares119 Views
in Art
Ernesto Neto Crochets an Enormous Snake to Slither Inside Le Bon Marché
by Aurelia Butler 31 January 2025, 20:00
All images © Stephane Aboudaram | we are content(s), shared with permission
Ernesto Neto Crochets an Enormous Snake to Slither Inside Le Bon Marché
January 31, 2025
Art
Grace Ebert
Share
Pin
Email
Bookmark
“If Adam and Eve had not eaten the Divine Apple, they would still be in paradise, wouldn’t they? And us? Where would we be?” asks Ernesto Neto in relation to his latest project.
At Le Bon Marché Rive Gauche in Paris, the Brazilian artist (previously) presents his signature crocheted installations. A 28-foot snake coils up through the atrium for “Le La Serpent,” a monumental project evoking the creation myth of Adam, Eve, and the snake.
Rather than view the story from the perspective of sin, Neto chooses to see the animal as a life-giving force that transcends the Abrahamic story. Utilizing both male and female articles, the title positions the serpent as exceeding gender and instead as a joyful, spiritual force that can connect mind and body. The artist notes that many cultures, from Mesoamerica to Cambodian mythology to ancient Greek, viewed the serpent as god. Given that the Lunar New Year recently ushered in the Year of the Snake, the project also has a timely tie to Eastern traditions.
Although Neto frequently incorporates bold colors into his installations, the yarn in this project uses white to celebrate Aristide and Marguerite Boucicaut, the founders of Le Bon Marché who encouraged artists to use the color in their works in the 19th century.
A collaborative, meditative space awaits visitors on the second floor. Neto composed a song that plays throughout the room, while a large tee stands at the center. Dried leaves, turmeric, and cumin fill the trunk, adding an earthy, spiced scent to the air. The chalkboard-style walls are designed for visitors to draw and leave notes for future viewers.
“I want to remind people that they have a body—that they can feel it,” the artist said. “Scents activate memory and help us reconnect with our own essence.”
If you’re in Paris, see “Le La Serpent” through February 22.
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
125 Shares129 Views
in Art
Nick Cave’s Nearly 26-Foot Bronze Stands for Resistance Amid Oppression
by Aurelia Butler 30 January 2025, 17:30
“Amalgam (Origin)”
(2024), bronze,
309 5/8 x 201 x 227 inches. All photos by Vincent Tullo, courtesy of Jack Shainman Gallery, New York, shared with permission
Nick Cave’s Nearly 26-Foot Bronze Stands for Resistance Amid Oppression
January 30, 2025
Art
Grace Ebert
Share
Pin
Email
Bookmark
Whether weaving plastic pony beads into a monumental sculpture, adorning figures with mother-of-pearl buttons, or mosaicing ceramic tile across a New York subway station, Nick Cave has continually returned to one question: how does this material help bring people into the work?
“I have to think about the journey and how I get your willingness to explore and go with me,” he told Colossal in 2022.
“Amalgam (Plot)” (2024), bronze, tole flowers, and cast iron door stops, 63 x 120 x 125 inches
This month at Jack Shainman Gallery’s new Tribeca location, Cave presents his latest material explorations. Amalgams and Graphts comprises two distinct bodies of work that are a sort of progression from the artist’s signature Soundsuits. Created following the Los Angeles Police Department’s beating of Rodney King in 1991, the ebullient costumes conceal the wearer’s identity and invite viewers to engage from a place of non-judgment.
For Amalgams, Cave created bronze casts of his own body at different scales evocative of Soundsuits. At the center of the exhibition is an unmissable, almost 26-foot sculpture that towers over the space. Thick foliage cloaks the figure and emphasizes the possibility for growth as branches sprout from the upper torso, creating what the artist refers to as a “migration hub” where perched birds take refuge. Nearby, a similar work depicts a smaller, yet equally opulent figure seated with feet lifted off the ground.
“Amalgam (Plot)” is the most compact of the three. Erupting with vintage tole flowers, the floor sculpture portrays two figures, one lying on his back and the other face down with his arms over his head to take cover. The protective pose mimics a scene of racially motivated violence captured on video.
In part a move toward accessibility, the bronze works are part of Cave’s interest in public art and sharing his practice—including his commitment to cultivating resistance in the face of oppression—more broadly.
“Grapht” (2024), vintage metal serving trays and needlepoint on wood panel, 95 1/2 x 143 1/2 x 2 inches
While the artist frequently incorporates his own body into his work, Graphts is the first time he’s made himself so recognizable. Self-portraits appear amid decadent collages of vintage serving trays decorated with floral motifs. A long-time collector of found objects, Cave melds the platters with needlepoint, a domestic craft historically practiced by privileged, wealthy women.
As is typical in the artist’s work, the trays take on several meanings, invoking servitude and the aesthetics of social systems along with the multi-valent notion of “serving.” Associated with subordination and duty, “to serve” in ballroom culture is instead “a directive to act with confidence and attitude.”
Amalgams and Graphts continues in New York through March 15. Find more from Cave on Instagram.
Left: Nick Cave and Bob Faust, “Wallwork,” (2024), wall vinyl, 157 x 367 1/4 inches. Right: “A·mal·gam” (2021), bronze, 122 x 94 x 85 inches
“Grapht” (2024), vintage metal serving trays and vintage tole on wood panel, 95 1/2 x 95 1/2 x 10 inches
“Amalgam (Plot)” (2024), bronze, tole flowers, and cast iron door stops, 63 x 120 x 125 inches
“Grapht” (2024), vintage metal serving trays, vintage tole, and needlepoint on wood panel, 95 1/2 x 193 1/2 x 16 1/2 inches
“Amalgam (Plot)” (2024), bronze, tole flowers, and cast iron door stops, 63 x 120 x 125 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
125 Shares159 Views
in Art
Reflections and Human Connections Resonate in Marina Kappos’ Optical Paintings
by Aurelia Butler 30 January 2025, 15:01
“Sun Study (Midnight)” (2024), acrylic on wood panel, 16 x 16 inches. All images courtesy of the artist, shared with permission
Reflections and Human Connections Resonate in Marina Kappos’ Optical Paintings
January 30, 2025
Art
Kate Mothes
Share
Pin
Email
Bookmark
In physics, quantum entanglement describes how particles being generated, interacting, or in proximity to one another cannot have independent quantum states. Albert Einstein referred to this phenomenon as “spooky action at a distance.” In short, once particles have interacted, they remain connected, even if they are millions of light years apart.
For artist Marina Kappos, entanglement inspires an interest in frequency, resonance, and connection through painting. “In a peculiar way, I can relate to distant particles affecting one another because I have an identical twin sister,” she tells Colossal. “I have grown up with a mirrored reflection of myself, but one that is also independent and leading a different life than me. This unique perspective has created a lifelong bond of interconnectedness between my sister and me.”
“188” (2024), acrylic on canvas, 58 x 58 inches
Kappos describes her paintings, like her life, as a double or a mirror that reflects in myriad ways. She invokes a kind of “buzzing frequency and optical motion” that creates the impression that solid, distinct objects—like our bodies—are fluid or malleable.
“We are inextricably linked to one another and our surroundings,” the artist says. “Where does the body end and the universe begin? Vibration is a clue that it is closely related. These paintings, combined with my own life experience, have highlighted my evolving awareness of the nature of reality.”
Kappos applies acrylic paint in semi-transparent layers of color, which overlap to create a resonating or vibrating visual quality. She is interested in portraying human connections, especially women, often emphasizing profiles or hands because they hint at the body but may not be the first detail one notices when seeing reverberating, optical color effects. Many works have light and dark counterparts, like “Sister 1” and “Sister 2.”
“Like echoes, the repeated motifs almost have a Doppler effect, where there is an increase or decrease in frequency of light depending on where you stand,” Kappos says. “The ethereal, transparent layers of paint eventually become profiles of faces, sometimes melding into landscape, at times appearing out of focus, simply buzzing or humming along.”
“199 (Sister 1)” (2024), acrylic on wood panel, 24 x 24 inches
Many of these works were recently on view in her solo shows Ultraviolet Catastrophe at The Pit in Los Angeles and Spooky Action at Shrine in New York City. She currently has a piece in the group exhibition Soft Focus at The Hole’s Los Angeles location.
The artist is currently engaged in a residency in Paris at Résidence artistique Retina, a program established by a medical center in the heart of the city to improve the experience for hospital patients, visitors, and staff. Find more on Kappos’s website and Instagram.
“199 (Sister 2)” (2024), acrylic on wood panel, 24 x 24 inches
“Sun Study (Aurora)” (2024), acrylic on wood panel, 16 x 16 inches
“Vibrating Woman” (2020), acrylic on canvas, 72 x 120 inches
“179” (2024), acrylic on canvas, 58 x 58 inches
“Ultraviolet Study (Tangle)” (2024), acrylic on wood panel, 16 x 16 inches
“Spooky Action Study (Skull)” (2024), acrylic on wood panel, 16 x 16 inches
“Ultraviolet Study (Night Rider” (2024), acrylic on wood panel, 16 x 16 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
188 Shares199 Views
in Art
In London, an Enormous Exhibition of 500+ Works Roots Out the Creative Seeds of Flowers
by Aurelia Butler 29 January 2025, 20:21
Rebecca Louise Law, “Calyx” (2023). Image courtesy of the artist
In London, an Enormous Exhibition of 500+ Works Roots Out the Creative Seeds of Flowers
January 29, 2025
ArtNaturePhotography
Grace Ebert
Share
Pin
Email
Bookmark
In nature, flowers serve as an essential component of the reproduction process. But for humans, scented blooms are ripe with myriad meanings and symbolism that transcend their biological functions.
During Victorian times, offering a bouquet to someone with your right hand indicated a non-verbal “yes,” while a yellow carnation would reject an admirer. Similarly in art history, wilting flowers rendered as a momento mori remind us of death’s inevitability, and for van Gogh, sunflowers were the perfect stand-in for gratitude.
Aimée Hoving, “Compost” (2019). Image © Aimee Hoving, flowers by Brigitte Gentis van Dam Merrett
A massive exhibition opening next month at Saatchi Gallery cultivates a vast repertoire of works that explores how blooms have become an omnipresent entity in human life and creativity. Flowers: Flora in Contemporary Art and Culture brings together more than 500 photographs, installations, sculptures, archival pieces, and other objects to create a rich landscape spanning millennia.
Anchoring the exhibition is an expansive and immersive work of 100,000-plus dried flowers by Rebecca Louise Law. Smaller pieces include Xuebing Du’s ethereal photos of flowers in natural light, VOYDER’s streaky steam-laden compositions, and lush, vibrant gardens by Faye Bridgewater.
Opening in time to usher in spring in London, Flowers runs from February 12 to May 5.
VOYDER, “In Love with the Idea of You” (2024). Image courtesy of the artist
Kasia Wozniak, “Anemoia #7.” Image courtesy of the artist
Sandra Kantanen, “Still Life (Flowers I).” Image courtesy the artist and Purdy Hicks Gallery
Xuebing Du, “Mother of Pearl” (2018). Image courtesy of the artist
Carmen Mitrotta, “Geometric Leaves.” Image courtesy the artist
Faye Bridgewater, “En Masse” (2025). Image courtesy of the artist
Ann von Freyburg, “Floral Arrangement 1 (After Jan van Huysum, Still Life).” Image courtesy of the artist
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Next article More
125 Shares119 Views
in Art
Brandon Morris’ Spectral Fiberglass Gowns Conjure Fears of the Unknown
by Aurelia Butler 29 January 2025, 13:47
All images courtesy of Europa, shared with permission
Brandon Morris’ Spectral Fiberglass Gowns Conjure Fears of the Unknown
January 29, 2025
Art
Grace Ebert
Share
Pin
Email
Bookmark
Wander into New York’s Europa, and you’ll encounter a spectral cast devoid of characters. Pale green gowns with ruffled hems, long sleeves, and empire waists haunt the gallery as they hunch and lean as if enlivened by an invisible force. Unsettling and intriguing, the translucent works wouldn’t be out of place in a ghostly horror film and are on view for Brandon Morris’s solo show, Actress.
Born in San Diego and based in New York, Morris is trained in dressmaking, which he applies to fiberglass for this body of work. Using an industrial sewing machine and mannequins, Morris sewed garments based on vintage children’s gowns from the Victorian era. Resin stiffens the clothing and allows each piece to retain its distinctive, upright shape.
“Ghost Dress 6” (2024), fiberglass, 32 x 27 x 51 inches
A statement about the exhibition shares that the hollow forms offer space to hold our fears and anxieties. Redolent of the supernatural mystery The Ring from 2002—itself adapted from the 1998 Japanese film Ringu—the uncanny dresses are unnerving because their gestures and poses are so similar to reality. As they float in the gallery, the garments’ curved backs and crooked shoulders are out of kilter and offer an air of discomfort.
As with the conventions of the horror genre, Morris’ works are unnerving in part because they leave us with questions: Who wore the garments, and where have they gone? Who, or what, left the dresses in this state? And, perhaps most timely, what insidious forces are hidden in plain sight?
Actress continues through February 9. Find more from Morris on Instagram.
“Ghost Dress 7” (2024), fiberglass, 37 x 37 x 55 inches
“Ghost Dress 2” (2024), fiberglass, 20 x 20 x 45 inches
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
150 Shares179 Views
in Art
Embellished Vodou Flags by Myrlande Constant Spotlight ‘The Spiritual World of Haiti’
by Aurelia Butler 28 January 2025, 17:49
“Ceromine Bois Caiman” (date unknown), beads and sequins on fabric, 52 x 82 inches. All images © Myrlande Constant, courtesy of the artist and Fort Gansevoort, New York, shared with permission
Embellished Vodou Flags by Myrlande Constant Spotlight ‘The Spiritual World of Haiti’
January 28, 2025
ArtHistorySocial Issues
Kate Mothes
Share
Pin
Email
Bookmark
When Myrlande Constant (previously) was a teenager, she worked alongside her mother in a commercial wedding dress factory in Port-au-Prince. There, she learned the tambour embroidery technique, which utilizes a hook to create chain stitches with beads and sequins on fabric.
“By foregrounding her specialized skills honed in the fashion industry, Constant’s approach to drapo has broken gender barriers and elevated the overlooked creative labor of Haitian female factory workers to the realm of fine art,” says a statement from Fort Gansevoort, which will present the artist’s work next month in a solo exhibition titled The Spiritual World of Haiti.
“Marasah-Cai Leh-Créole-Marasah-Guinin-Marasah-bois” (date unknown), beads and sequins on fabric, 74 x 55.25 inches
Drapo, or drapo Vodou, typically describes a style of embroidered flag embellished with beads or sequins, but the term can also be applied to a wide range of art forms like painting, clothing, assemblages, and sculptures. Constant’s pieces, which she has been renowned for since the 1990s, highlight a variety of materials, colors, textures, and all-over compositions brimming with ritual activity and symbols.
Haitian Vodou, an African diasporic religion that developed between the 16th and 19th centuries, merged Western and Central African traditions with Roman Catholicism. Its divine creator, Bondye, is inaccessible to humans, so spirits known as lwa‘s serve as intermediaries that can be invoked during ceremonies by possessing individuals, enabling communication with Bondye and transmission of advice, admonishment, or healing.
“Though she considers her art-making to be rooted in spirituality, Constant does not create her works for the purpose of display in Vodou temples, preferring instead to exhibit them in museums and galleries internationally,” a statement says.
For Constant, art-making is a statement of resistance within the context of Haiti’s extreme political and economic instability. The nation’s current unrest was spurred by protests against high fuel prices in 2018 and a demand that then-president Jovenel Moïse resign. He refused to step down but was assassinated in 2021, further escalating tensions. A federation of gangs continues to clash with the government, spawning more protests, violence, and perpetuating an evolving humanitarian crisis.
Detail of “Au nom de 29 points cimetiere par pou voir Baron Samedi”
“Marinette Bois Chèche” is the earliest work that will be on view in the exhibition and depicts the martyrdom of Vodou lwa Marinette. According to folklore, Vodou lwa Marinette was burned alive for fighting against slavery and participating in a paradigm-shifting Bwa Kayiman ceremony in 1791, which spawned the 12-year Haitian Revolution.
The insurrection, an uprising of enslaved people against French colonial rule, is unique in history because it led to the founding of a state ruled by former captives and non-white people and free from slavery—although it still permitted forced labor. Constant’s title translates to something like “Marinette of the dry wood,” evoking the ceremony that typically takes place around a bonfire and calling upon a momentous period in Haiti’s history.
The artist’s drapo are densely beaded and often much larger than their traditional counterparts. The most recent work on view in the exhibition, “Devosyon Makaya” spans ten feet wide and took around three years to create. Constant describes her process as “painting with beads,” transforming fabric and findings into elaborate narratives evoking time-honored Haitian customs.
The Spiritual World of Haiti opens on February 27 and continues through April 26 in New York City.
“Au nom de 29 points cimetiere par pou voir Baron Samedi” (date unknown), beads and sequins on fabric, 58 x 70 inches
“Marinette Bois Chéche” (1994), beads and sequins on fabric, 33 x 37 inches
“Par pou voir torit les saints torit les morts torit armes ou purgatoir bó manman ak bo papa
maternel et paternal en non digr cela mizerricorde” (date unknown), beads, sequins, and tassels on fabric, 76.5 x 96 inches
Detail of “Par pou voir torit les saints torit les morts torit armes ou purgatoir bó manman ak bo papa
maternel et paternal en non digr cela mizerricorde”
Detail of “Ceromine Bois Caiman”
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More
113 Shares189 Views
in Art
A Provocative Photography Exhibition Invites You to Experience ‘Chromotherapia’
by Aurelia Butler 28 January 2025, 15:12
Maurizio Cattelan and Pierpaolo Ferrari, “Toiiletpaper.” Image courtesy of ‘Toiletpaper.’
A Provocative Photography Exhibition Invites You to Experience ‘Chromotherapia’
January 28, 2025
ArtBooksPhotography
Kate Mothes
Share
Pin
Email
Bookmark
In the world of photography, the color image has long held an inferior reputation to black-and-white, which connoisseurs historically deemed to be more dignified. Today, vibrant images are embraced in a wide range of fields, from fine art and fashion to advertising and journalism.
Championing the potential of the medium, artist Maurizio Cattelan and French Academy in Rome—Villa Medici director Sam Stourdzé curated Chromotherapia: The Feel-Good Color Photography.
Martin Parr, “Common Sense.” Image © Magnum Photos
Color therapy, though deemed a pseudoscience, has its roots in color theory, which focuses on interactions between hues and how they affect our moods and emotions.
Cattelan and Stourdzé emphasize ebullient hyperreality, humor, and the absurd through works like Juno Calypso’s “Chicken Dogs,” in which an anonymous figure lies face-down next to a can of hot dogs, or Walter Candoha’s expressive pets. And in “Toiletpaper,” by Cattelan and Pierpaolo Ferrari, who co-founded a magazine of the same name in 2010, a man sits on a tan couch, wearing a matching suit, covered in spaghetti.
In total, twenty artists explore a range of approaches in the exhibition, from portraits of people and animals to food and uncanny tableaux. “Many have freed themselves from the documentary function of the photographic medium to explore the common roots of the image and the imaginary, flirting with pop art, surrealism, bling, kitsch, and the baroque,” says a statement.
Chromotherapia opens February 28 and continues through June 9 in Rome, and an accompanying catalogue published by Damiani is slated for release in March in the U.K. and May in the U.S. Pre-order your copy in the Colossal Shop.
Cover of ‘Chromotherapia’ (2025). Featured image by Walter Chandoha, “New Jersey” (1962). Image ©️ Walter Chandoha Archive
Juno Calypso, “Chicken Dogs” (2015), archival pigment print. Image © Courtesy the artist and TJ Boulting
William Wegman, “Ski Patrol” (2017). Image courtesy of Galerie George-Philippe & Nathalie Vallois
The back cover of Damiani’s catalogue for the exhibition ‘Chromotherapia: The Feel-Good Color Photography,’ featuring a photo by Walter Chandoha
Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.
Hide advertising
Save your favorite articles
Get 15% off in the Colossal Shop
Receive members-only newsletter
Give 1% for art supplies in K-12 classrooms
Join us today!
$7/month
$75/year
Explore membership options
Previous articleNext article More

Art

More stories

Ernesto Neto Crochets an Enormous Snake to Slither Inside Le Bon Marché

Nick Cave’s Nearly 26-Foot Bronze Stands for Resistance Amid Oppression

Reflections and Human Connections Resonate in Marina Kappos’ Optical Paintings

In London, an Enormous Exhibition of 500+ Works Roots Out the Creative Seeds of Flowers

Brandon Morris’ Spectral Fiberglass Gowns Conjure Fears of the Unknown

A Provocative Photography Exhibition Invites You to Experience ‘Chromotherapia’

ITALIAN LANGUAGE

ENGLISH LANGUAGE